Mother's Love 1914

Editor: So, here we have Othon Friesz’s "Mother’s Love," painted in 1914. It’s an oil painting, and there's something almost raw about the brushstrokes. They’re so visible. What jumps out at you when you look at it? Curator: It's compelling to consider the very act of painting itself. The materiality of the oil paint is emphasized; we see how Friesz manipulates the pigment. What does it say about the accessibility of art production at this moment? How available were these materials, and who had the economic power to acquire them? Editor: That’s a fascinating way to frame it. I was mostly thinking about the sentimentality of the image, but the production aspect never occurred to me. Curator: Sentimentality can be a product, too! Consider how these materials, the oils, the canvas – they are products of labor. The expressionistic style flattens perspective. Notice the contrast between the smoother application of paint on the figures compared to the sketchier background. What does that contrast emphasize in terms of labour value? Editor: So, are you suggesting the differing textures highlight a distinction in the effort put into the various areas of the piece? Perhaps that reflects the perceived importance of the mother and child in a society rapidly industrializing? Curator: Exactly! And in 1914, as Europe hurtled towards war, what social function did art like this serve? Did it offer comfort, distraction, or something else entirely? Consider the materials' availability amidst such upheaval. Was artistic expression seen as a vital investment of resources, or a frivolous indulgence? Editor: I hadn’t considered the scarcity aspect and how the social context affects the way the work and its resources were perceived. Thanks for providing that perspective! Curator: And thank you! Thinking about the physical presence and means of production brings such richness to the viewing experience.