Untitled (Harbor) 1940

Curator: Looking at this harbor scene, my first impression is one of stark serenity—a certain stillness achieved through carefully balanced forms and restrained color. Editor: Max Arthur Cohn created this print, titled "Untitled (Harbor)", around 1940. The scene is indeed still but this tranquility is borne from the industry of this cityscape. One might reflect on the function of each vessel. Curator: Yes, each shape is so deliberately placed. I'm particularly struck by the way the bridge in the background mirrors the horizontal lines of the boats in the foreground. And the color palette – muted grays and greens punctuated by that pop of red on the tugboat. There's a real compositional mastery here. Editor: Cohn likely found himself captivated by this vista, seeking to distill its essence, a romantic interpretation of urbanization and industry through printed means. How was such an affordable medium also used for aesthetic pleasures during such trying times as World War II? Curator: True, thinking about this work as a print opens up so many interesting avenues. The flatness inherent in the medium reinforces the geometric quality of the composition. Also, the texture would suggest the type of ink and wood or linoleum panels were used, which impacts how we experience it. It's fascinating to consider. Editor: And considering Cohn's background—likely exposed to and familiar with the processes and labors that are shown here—would have certainly informed his artistic choices. Was he trying to reveal these means of production as well? I'm drawn to those sorts of questions that the work suggests. Curator: I agree; these industrial reflections do pull your eyes to reflect on what it takes to even produce these pieces of work. Editor: Indeed, I’m left contemplating how labor and artistry coalesce within such an image. Curator: And for me, how color and composition interact to capture something both placid and precise in a very unique manner.