The First Day 1920

Editor: Here we have "The First Day," a woodcut made around 1920 by Ernst Barlach. I'm struck by how…stark it is. The harsh contrast between light and shadow feels almost violent. What stories do you think it is trying to tell? Curator: This piece really speaks to the turmoil of its time. Barlach created this after World War I, and within the Expressionist movement, the woodcut medium itself carries a weight. It was often seen as a 'folk' medium, more accessible and raw compared to more academic forms, and as such became connected with revolutionary agendas and agendas from below. Editor: A revolutionary medium! I hadn’t thought about it like that. Curator: Exactly. So consider the imagery: a burdened figure, trapped by chaotic skies. Knowing the context, do you see echoes of the war, perhaps a world stripped bare and filled with dread, but also of hope? Editor: I see it now! The figure looks weary, almost defeated. The lines going downwards remind me of heavy rain, maybe of struggles. And the new shapes emerging could signify potential new beginnings? Curator: Precisely. But even the new beginnings of German Expressionism had heavy influences: artists like Barlach broke away from naturalism to delve into the interiority of emotion, which was greatly impacted by economic austerity, social unrest, and the scars of war, with their art taking inspiration from pre-war movements and artists like Munch, who dealt with heavy emotions such as despair and alienation. Editor: It's amazing how much the historical context changes the way you perceive this artwork. It’s not just about a sad person; it's about a collective experience. Curator: Art often serves as a mirror, reflecting the complexities and anxieties of its time, while also gesturing towards possible futures. Looking at "The First Day", one might see it not just as an ending, but also a courageous questioning.