['Jodelet sitting on a chair', 'Design for the illustration of "Les Précieuses Ridicules\'\' from the 1734 edition of Molière\'s works (vol. I, p. 247)'] 1713 - 1734

Editor: This piece, created sometime between 1713 and 1734 by Francois Boucher, is called "Jodelet sitting on a chair," a design for Molière’s work, rendered in ink on paper. What strikes me most is how the swirling calligraphy almost obscures the figure; it’s like a hidden message. What can you tell me about that, how do you interpret the symbolic connection here? Curator: It is interesting that the calligraphy seems to swallow up the subject matter. Consider that calligraphy itself carries weight – tradition, knowledge, secrets even. The drawing may reflect an evolving social consciousness or tension with the conventions it presents. Does the image invite one into a deeper story or suggest commentary on established society through Jodelet's place within that very script? Editor: That’s a very interesting point! It challenges my initial perception, since the script seems almost decorative. But how might calligraphy be relevant here beyond just being text? Curator: Think of it as the visual manifestation of language itself. Beyond conveying words, each stroke possesses intentionality and nuance reflecting the personality of the character depicted in the foreground of it. Editor: So, you're saying that the form of the writing is integral to how we understand the drawing itself, and perhaps comments on Jodelet's status as satire within text, art and society? I see a tension, one that invites further investigation into this intriguing intersection. Curator: Precisely! It's in grappling with that complexity and recognizing symbolic undertones of an artwork and author, and how their society influenced each other. In each mark lies both beauty and commentary and its potential shifts perceptions and enriches experience. Editor: I will certainly keep this perspective in mind when I look at other baroque pieces going forward.