Figurehead c. 1936

Editor: Lucille Chabot's "Figurehead," created around 1936 using watercolor, captures something quite dignified. I am struck by the direct gaze and the almost sculptural treatment of form, despite being on paper. What do you see in this piece? Curator: I see layers of cultural memory embedded within this image. The figurehead itself is a potent symbol, a guardian of voyages and a representation of the ship's identity. Notice how Chabot emphasizes the upward gaze; it speaks of aspiration, perhaps even defiance. Think of what the figurehead meant to those embarking on treacherous journeys. Editor: That makes sense. The upward gaze and historical garb almost convey a heroic quality. Curator: Exactly. The clothing—the feathered hat, the sash—evokes a historical era, but it's also a constructed identity, a deliberate costuming. What feelings do those sartorial choices evoke? It's more than just historical accuracy; it's about imbuing the figure with a certain gravitas, a romanticized vision of the past. Editor: It's true; I initially responded to that sense of drama. It creates a larger-than-life effect. So you see it as drawing upon historical and even fictional, symbolic power? Curator: Precisely. And consider that Chabot created this during the 1930s. The imagery and history in the face become vessels to contemplate collective experiences such as national identity. By evoking symbols, we may reveal profound societal concerns or desires. What has changed? What remains the same? What’s constant through our ever-shifting historical perspective? Editor: That's fascinating. I never considered how its historical image could tie into a Depression-era context. It really highlights the interplay between past and present and how art acts as this symbolic bridge. Curator: Indeed. Images possess cultural and psychological weight that allows them to express an evolving cultural continuum.