A Happy New Year c. 1900 - 1910

Curator: We are looking at "A Happy New Year," a pen drawing by Edwin Austin Abbey, likely created between 1900 and 1910. What strikes you first about this piece? Editor: Well, the simplicity of the line work jumps out. It's almost a casual sketch, focusing on the labor involved with hand drawn holiday greetings. Look at how economic the artist is in describing the figure. Curator: Indeed. Abbey was an established illustrator. Here, he appears to be poking fun at the genre of commercial illustration he knew so well. It is a rare glance at the artistic practice itself, the commodification of festive cheer. Editor: Exactly. And what material implications are hidden within a gesture such as a drawing shared between close family? Consider the production process. What sort of paper was this sketched onto? How widely would drawings like this be shared? These are all interesting, if mundane, questions about material and production. Curator: Also, observe the directness of the title written above. “A Happy New Year” doesn’t disguise its purpose. There's a charming honesty, particularly in its contrast to the slickness of mass-produced cards that were starting to gain traction. Editor: You’re right. But consider the context. What did it *mean* to send such an individualized hand drawing. It wasn’t merely decorative – it functioned within a nexus of artistic process, interpersonal relationship and gift giving. A store-bought postcard never shares these nuances. Curator: It really shows the complexity that is within such a simple creation. Editor: Precisely, every artwork serves many roles, with different materials having differing socio-political impacts. That's often disregarded in favour of purely formal art history. Curator: The work encourages reflection, not just on festive greetings, but on the role of the artist in their making. Editor: I would also argue the role of material conditions too! Thanks. Curator: Thanks.