Cinderella - from the Picture Book for the Red Cross 

Editor: This watercolor illustration, titled "Cinderella" by Edmund Dulac, seems to depict the fairy godmother scene. I'm really struck by the contrast in clothing - Cinderella’s elaborate dress versus the ragged attire. What stands out to you in terms of the work's meaning and impact? Curator: The visible act of Cinderella's transformation carries significant weight when considered from a materialist viewpoint. Look at the pumpkins, the source material of her carriage; they highlight the humble, agrarian roots from which her fantastical transformation emerges. Dulac is reminding us of the labor –the cultivation of the pumpkins, the weaving of the fabrics – that underpins even the most seemingly magical experiences. How does this interplay of humble origin and magical transformation complicate your initial understanding? Editor: It does shift my thinking. The rags to riches story isn't just a given, it's built on tangible materials and the work of someone's hands. It makes me consider the socioeconomic implications within the narrative itself. Curator: Precisely. This also challenges a view that fairy tales exist separately from the everyday lives of its viewers and producers. Consider how this watercolor might have been consumed in the early 20th century. How does it reflect and shape attitudes toward labor and social mobility? Editor: I hadn't considered that context! It feels like the painting brings together both a surface reading of fantasy but also, looking at it closer, encourages thoughts on working conditions and social structures. It’s more complex than I initially thought. Curator: It is. By focusing on the means of production and the materials at play, we can unpack layers of meaning that might otherwise remain hidden. Seeing the source and the outcome, there's room to examine art beyond mere escapism. Editor: I definitely see that now. The materials tell their own story.