Two Cows 1935

Editor: Here we have Eric Ravilious's watercolor "Two Cows" from 1935. It’s such a straightforward, intimate glimpse into rural life, with the cows seemingly posing for their portrait within the weathered wooden structure. What cultural narratives do you think this piece might be reflecting or perhaps challenging? Curator: I'm drawn to how Ravilious situates these animals. Framing them within the barn immediately brings to mind the agrarian policies of the interwar period. What was Ravilious suggesting about rural life in England at this moment? It also engages with a longer tradition of representing agricultural scenes, particularly as a kind of social or political reassurance. Do you get that feeling too? Editor: I do. Especially the cows’ placid poses suggest contentment and stability. So, instead of challenging perceptions, is it reinforcing a certain idyllic image of British farming? Curator: Perhaps. But notice the architectural details – the stark geometry of the rafters, the rough texture of the wood. It could suggest a certain idealized pastoral scene while hinting at the labor involved, reflecting a more complex reality that contrasts starkly with propaganda portraying farms solely as picturesque locations. Ravilious, through his work as a war artist later, also demonstrated awareness of representing difficult realities. Editor: I see. So, even with what seems like a simple watercolor, there's a subtle commentary about labor, society, and representation interwoven. Curator: Precisely! It demonstrates how everyday images play a vital role in the political landscape of a country, acting not just as depictions but also carriers of historical information and values. It prompts us to rethink the cultural roles art may unintentionally, or even intentionally play in reinforcing or subverting social norms. Editor: That’s fascinating. I’ll definitely look at similar seemingly simple subjects differently now.