Horses and Plow 1943

Editor: We're looking at Milton Avery's "Horses and Plow" from 1943, done in ink and pencil. It's a quick, almost fleeting sketch of a rural scene. It feels unfinished, but in a charming way. What do you see in this piece, especially considering the time it was made? Curator: This drawing is quite evocative, especially when viewed through the lens of its historical context. 1943 sits squarely within World War II. The sketch, depicting a tranquil agrarian scene, operates as a stark counterpoint to the global conflict. The romanticization of rural life—horses, a plow, open fields—was often used as a form of patriotic sentimentality and escapism during times of crisis. Does the simplicity strike you as intentional? Editor: Definitely. It feels almost idealized. Like a conscious turning away from the horrors of the war. So, are you suggesting the image could function as propaganda, albeit subtle? Curator: Perhaps "propaganda" is too strong. It's more about contributing to a particular national narrative. Consider the role of Regionalism in American art during the Depression and the war years. Artists were encouraged, sometimes explicitly, to depict scenes of American life, often idealized, as a way to foster national unity and resilience. Do you notice how the quick strokes lack specific details? Editor: Yes, it’s very gestural. I see how that would help with creating a generalized image of pastoral life that resonates more broadly. It makes the scene feel timeless and almost universally applicable. Curator: Precisely! This piece shows how art reflects broader social and political trends of its time. It’s a small sketch, but a potent reminder of how imagery is carefully cultivated and consumed. Editor: I see now. It's more than just a pretty landscape. It’s about national identity and wartime anxieties. Thanks, that’s fascinating.