Side Chair c. 1939

Charles Henning created this watercolor study of a side chair. The chair, set against an off-white backdrop, is depicted in a muted palette of browns and creams, lending it an understated elegance. Notice how Henning structures the composition with a rigorous formalism. Vertical lines define the backrest, intersected by a horizontal seat, thus creating a grid-like structure. These lines are counterpointed by floral motifs, introducing organic forms into the geometric arrangement. This interplay between organic and geometric elements destabilizes any fixed interpretation, pointing to a tension between natural beauty and structural order. The chair can be seen as a semiotic system, where each element signifies something beyond its immediate form. The floral patterns may allude to nature and beauty, while the rigid structure speaks to order and control. Henning uses these elements to engage with broader questions about the relationship between art, nature, and culture, and how these intersect within the domestic sphere.