Women Sewing c. 1912

Editor: So here we have Édouard Vuillard’s “Women Sewing,” painted around 1912. It’s an oil painting, and the first thing that strikes me is this feeling of quiet intimacy. It’s like we're peeking into a private moment. What do you see in this piece? Curator: Well, for me, Vuillard’s magic is in capturing the unseen, the overlooked beauty of domestic life. It is post-impressionism at its finest! The way he flattens the space, almost like a stage set, forces us to focus on the relationships within the room – between the figures, the objects, the patterns. It’s almost as though he is asking 'Can the soul be present within a space? And, if so, how would it act? Editor: I see what you mean. The wallpaper, the dresses, everything seems to blend together. It’s like the women are almost part of the fabric of the room. Curator: Exactly! And that blending is intentional. Vuillard was associated with the Nabis, a group who believed art should be integrated into everyday life. He’s not trying to create a realistic depiction, but rather a sensory experience, to suggest emotions through colour and texture. Does the red fabric on the bottom left speak to you as being something in disarray? Editor: Yes! The color is so contrasting that my eyes naturally fixate upon it, as though it is in contrast to an organized sewing practice. Is that what you're suggesting about this scene? Curator: I do like that interpretation, actually! Consider its presence near the women. I wonder if its intention wasn't about sewing per se, but the women's ability to collaborate with intention and with a focus to build new things as life continues onward? Editor: That makes me think about the historical context too, how these domestic tasks were so central to women's lives. It is like they exist just outside our present world. It definitely gives me a lot to think about. Thanks! Curator: My pleasure. For me, I'm reminded of that line, "Still waters run deep." Now, how deep do these domestic still waters truly run?