Blacksmith Shop 1935 - 1942

Curator: This watercolor drawing, likely created between 1935 and 1942, is entitled "Blacksmith Shop" by Perkins Harnly. My first thought is how cold the palette feels for a working forge! Editor: Yes, and notice the meticulous detail with which Harnly renders each object. The subtle gradations of gray in the floor tiles, for example, contribute to a flattened, almost schematic composition. Curator: Indeed. However, look closely at how the implements themselves serve as potent symbols. The horseshoe above the doorway represents luck, certainly, and protection, but there are religious connotations too. Consider the Saint Eligius. Editor: Fascinating, as St. Eligius is the patron saint of blacksmiths. His attributes become visible throughout the space. The bellows are for instance clearly about to ignite that forge as if breathing the word of God in iron or clay. And look at all of those tongs! Curator: Exactly. I also note the almost excessive attention to perspective. Every plane and volume adheres rigorously to orthogonal lines; perhaps it indicates his yearning to freeze something from this pre-industrial world. Editor: The repetition of metallic glints is also quite calculated, isn't it? Every hammer, nail and tool appears like scattered seeds throughout the workspace. The eye traces a journey through this almost mythological territory. I even see a cartwheel. The wheel of fortune no less! Curator: While your observations offer depth, it's key to not impose overt, explicit narratives. These visual elements achieve harmony thanks to the way the overall image stays coherent within its planes. Its structural organization comes first and is vital. Editor: Still, there's an undeniable emotional resonance that emerges as a response. The shop embodies ingenuity. As for the color choice: Brown, black, ochre are all related to our own mortality, it is no accident it surrounds fire, craftmanship, and transformation. I am sure all this echoes within Harnly. Curator: I recognize Harnly might’ve thought this workshop an almost-holy place. It is certainly more a place for icons and implements of transformation, no doubt to echo in this painter’s own life. Editor: Ultimately, Harnly's rendering transports the viewer—at least, it transported me—into a liminal state where the tools of human craft whisper their stories of labor and skill.