Valance c. 1936

Editor: We're looking at "Valance," a watercolor drawing on paper from around 1936 by Ella Josephine Sterling. It feels almost like a textile design, with all these beautiful, delicate flowers and leaves arranged horizontally. What do you see in this piece? Curator: Immediately, I see a conversation between the decorative arts and the tradition of botanical illustration. But considering the period, I wonder if we can also view it as a quiet act of resistance. Editor: Resistance? In a floral design? Curator: Think about the context. This is the 1930s, a time of economic hardship and growing political instability. Creating something beautiful and domestic, like a valance design, could be interpreted as a pushback against the chaos and uncertainty of the era. Also, who traditionally engaged with “decorative art” versus “high art?" Were gendered expectations at play here? Editor: I never considered it that way! I guess I always separated “craft” from "art," but now that you mention the date, I suppose this floral piece stands as an act of resilience as well. What else catches your eye? Curator: I’m also struck by the stylization of the flowers. While rooted in nature, they're not strictly realistic. This abstraction allows for an emphasis on color and form, creating a utopian vision, even if small, within the domestic space. It prompts us to question the separation of art from everyday life, doesn’t it? Editor: Definitely! I initially just saw it as a pretty design, but now I see all these potential layers of meaning. It shows how even the simplest of images can reflect a larger historical and cultural narrative. Curator: Precisely. And that’s why it's vital to approach art with a critical eye, considering not only what’s on the surface, but the context in which it was created and viewed. Editor: Thanks! That’s definitely a point of view I hadn't considered before, and that’s the beauty of art – continuous new understandings, through conversation.