Parterre and Fountains of Blind Institution c. 1936

Editor: Here we have Joseph Stonefield's "Parterre and Fountains of Blind Institution," created around 1936 using watercolor and drawing techniques. There's a dreamlike, almost theatrical quality to this garden design. What do you make of it? Curator: Oh, I adore its whimsy! It feels like stepping into a forgotten stage set. Look at the heart-shaped parterre—it's pure romantic fantasy, right? But the "Blind Institution" bit in the title… that's the curious note. It invites us to question who this garden is *for.* Is it a haven, or is there something unsettling about its perfection? It's the kind of drawing that leaves you floating, searching. What about the color? Editor: The pastel palette certainly reinforces the dreamy feel. I’m thinking it softens the rigid geometry that could otherwise feel a bit…clinical? Curator: Exactly! Think about traditional parterres, the formal gardens of French royalty, meant to demonstrate power. Stonefield seems to be subverting that here. There’s a playful artificiality. What do you think of those cherubic statues emerging from the fountains? A bit cliché or evocative? Editor: A little bit of both! But maybe that's the point? Like a self-aware cliché. Curator: Precisely! This tension between beauty and the potentially sinister… that’s the magic. Stonefield is drawing, maybe wryly, on familiar imagery of wealth and control while creating something more introspective. A little wink and nudge hidden beneath layers of blooms, statues, and, ah yes, the cool blue water, right? Editor: It makes me wonder about the historical context, too. The 1930s… Were there particular garden design trends he was reacting to? Curator: That's a fascinating avenue to explore! Perhaps a rejection of austerity through lavish escapism? Food for thought. Editor: Well, now I see this watercolor in a completely different light – or, uh, a different shade of watercolor. Thanks so much! Curator: My pleasure! It is interesting to find gardens blooming unexpectedly through art, isn’t it?