print, woodcut
narrative-art
figuration
woodcut
symbolism
Dimensions block: 21.2 x 23 cm (8 3/8 x 9 1/16 in.) sheet: 33 x 29.2 cm (13 x 11 1/2 in.)
Curator: Georges Manzana-Pissarro created this intriguing woodcut print, "Le Dindon de la Farce," or "Turkey of the Farce," in 1894, embedding it within the Symbolist movement. Editor: The "farce" of it hits you immediately, doesn't it? The stark black and white amplifies this strangely beautiful awkwardness of the encounter between this woman and turkey! There’s such stillness to their shared presence in that shadowed space. Curator: Indeed. Symbolism favored evocative imagery and emotional resonance over naturalistic depiction. Consider how the print's medium, woodcut, allowed for bold contrasts and flattened forms which contributes to the dramatic and slightly unsettling atmosphere. Editor: Right! That deliberate flatness almost renders them both like characters on a stage, frozen in some ambiguous play. The woman’s simple attire and turned head suggest a narrative – a story untold. I get this very specific feeling, though I am not certain what this feeling evokes… a sort of impending realization, maybe? Curator: Well, that unspoken narrative, especially in the late 19th century, frequently involved themes of deception, illusion, and hidden truths—key concepts of Symbolism and reflective of prevailing social anxieties. Perhaps the turkey is a metaphor for vulnerability or even naivete being led into something uncertain? Editor: Perhaps! Or is it about how we project narratives onto the world and everything in it? To me, both seem almost comically wary of each other. The black outlines become cages, underscoring a kind of… trapped tension between observer and observed. And it invites introspection, you know? We can never know what she's actually feeling. We see it all filtered. Curator: Ultimately, "Le Dindon de la Farce" offers not concrete answers, but rather an invitation to reflect on the constructed nature of our perceptions and interactions. It urges the audience to critically examine how meaning is both created and consumed. Editor: Exactly. It’s not a passive viewing experience. I feel like this little print, with its sharp contrasts and implied narrative, pulls you right into the heart of a beautiful little drama of perspective. A snapshot of uncertainty.
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