Le Langage des Fleurs 1921

Curator: Looking at George Barbier's 1921 watercolor titled "Le Langage des Fleurs," or "The Language of Flowers," we're presented with a fascinating scene. Editor: Immediately, I’m struck by how idealized and romanticized it feels. The subdued palette and the subjects' distant expressions contribute to this wistful, almost melancholic mood. Curator: Indeed. Barbier masterfully employs flat colour, typical of the Art Nouveau movement, but also nods to Romanticism through the idealized portrayal of these figures in their presumed native folk dress. Their garments are elaborately detailed, suggesting careful, perhaps even loving, craftsmanship. Editor: And I’m drawn to that craft. Considering the context of its creation post-World War One, the use of watercolor lends itself to the availability of materials and techniques suited for rapid production, making it potentially accessible for broader audiences even as it evokes this idealized sentiment. The application itself is deliberate, but also restrained, indicating a conscious use of limited resources and possibly, the need for efficient, economical production. Curator: Precisely. Notice the interplay of textures. The crispness of the watercolour against the texture suggested in the floral ornamentation serves a visual purpose of enlivening the composition, as well. What are we to make of these figures placed within what appear to be high peaks and hillsides? Editor: That landscape creates a backdrop that further reinforces this idea of yearning. It might signify the figures' deep connection to a home or history that's both precious and perhaps irrevocably changed. Their placement in this stylized landscape almost speaks of labour as an integral part of their relationship to each other. The man even presents his flower as a offering while the lady holds a flower and offers insight using its delicate touch, speaking and looking for approval. Curator: Very astute observations. Barbier encapsulates something quite compelling within the composition’s graceful lines. It moves beyond the representational towards conveying deeply emotive cultural resonances. Editor: Absolutely, it all brings attention to this piece being a fascinating material object with something urgent to share in its romantic image.