Coat of Arms c. 1936

Curator: My initial reaction is that it has a very constrained palette, doesn't it? Brown and gold mostly. Editor: Indeed. This piece, dating from around 1936, is William Roberts' watercolor and ink drawing entitled "Coat of Arms." It is academic in its precision but leans heavily into decorative art through heraldic elements. Curator: Those three faces… lions perhaps? Staring right at us, frontally posed within the central escutcheon. They have a hypnotic quality. Heraldry is so good at making symbols that compress cultural assumptions and familial aspirations. Editor: And notice how Roberts uses the watercolor to simulate texture—the metallic sheen of the helmet, the velvety black of the background. The tight framing, too, contributes to the almost claustrophobic, intense effect. Curator: Precisely! The leaves, gilded and entwined, nearly choke the shield. This feels like a study of tradition as both empowering and confining. The inscription, "BY THE NAME OF WILLARD," solidifies a claim, a lineage. What cultural anxieties might Roberts be hinting at through the image? The weight of expectation maybe? Editor: One could say he seems to explore the potential of the line itself to conjure wealth and social elevation, not necessarily represent a concrete entity, with the emphasis on ornament and pattern over perspectival depth. And, dare I say, a slightly flattened space—heraldry distilled as decoration. Curator: It’s definitely interesting to ponder its place in that specific period, considering the rise of Fascism across Europe and the need for symbols to unite and claim identity. Editor: Fascinating how a seemingly static image becomes a lens to contemplate wider social forces. Curator: Agreed, thinking of collective identity through emblems offers layers to its creation. Editor: A curious synthesis of style and social comment indeed.