Langwerpige sjaal van zijden crêpe georgette gebatikt in bruin, oranje, groen en beige met een gestileerd floraal motief by Ragnhild d' Ailly

Langwerpige sjaal van zijden crêpe georgette gebatikt in bruin, oranje, groen en beige met een gestileerd floraal motief c. 1920s

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Dimensions length 154.0 cm, width 47.0 cm

Curator: Here we have a silk crepe georgette scarf, a beautiful textile piece attributed to Ragnhild d'Ailly, dating from the 1920s. It’s a batik work, featuring brown, orange, green, and beige dyes in a stylized floral motif. Editor: My first thought? Exotic spice market! It just smells of faraway lands and strange, beautiful blossoms to me. The colors are warm and earthy, like sun-baked clay. Curator: Indeed, the palette aligns with the organic dyes prevalent in Art Nouveau textiles. Let’s consider the formal elements: the composition relies on mirrored symmetry, creating a balanced, harmonious visual field. The flora is abstracted, flattened into almost geometric forms. We see repetition, rhythm, and the interplay of positive and negative space. Editor: That "balance" feels so alive to me though, not static. Like something caught mid-transformation. It's static and formal, and bursting with something, too! Like flowers about to burst open… or creatures about to take flight? There’s tension there! Curator: That tension stems, perhaps, from the artist’s mastery of batik. The wax-resist dyeing creates these sharp contrasts and distinct outlines, setting up boundaries even within the flow of the vegetal forms. Note, too, how the artist uses a limited color range to generate visual interest and depth through varying intensities of hue. Editor: Exactly! It’s a whole ecosystem! The deep browns and oranges act as a foundation – roots in the soil – while the beige and greens, softer, gentler, rise toward the light. It really captures the *essence* of organic growth, not just the literal form. I bet it felt incredible to wear something like that. Curator: Certainly, this scarf exemplifies how textile design during this period moved toward simplification and stylization of natural forms. D’Ailly skillfully combines decorative aesthetics with techniques inherent in the textile itself. Editor: I leave here today feeling so in awe! Makes you think, doesn't it? Just a piece of silk, but teeming with imagination!

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