Bootjack c. 1939

Editor: Here we have Howard Lumbard’s *Bootjack* from around 1939, rendered in watercolor. It’s striking how Lumbard takes something so utilitarian and… well, elevates it. What do you see in this piece? Curator: It’s precisely that utilitarian aspect which interests me. This bootjack isn’t just an object; it’s a window into a past where physical labor was more visible. Think about the New Deal era when this was painted. Editor: You’re thinking about the Works Progress Administration, the WPA? Curator: Exactly. Art from that period, especially those supported by the government, often documented the everyday lives and tools of the American worker. Lumbard might be making a subtle commentary here. What do you think? Editor: Hmm, I hadn't considered the social context so directly, but it does make you wonder about the unseen worker connected to this object. The watercolor itself feels very direct, honest. Not showy. Curator: It's about the dignity of work, the honesty of labor. Do you think this watercolor style was appropriate for it? Editor: Definitely. It mirrors the straightforward, no-nonsense character of the bootjack itself. Something fancier would feel off-key. Curator: And considering that such artifacts now occupy gallery space, is this a kind of social commentary on what art, and society, values? Editor: That’s a fascinating point. It seems that by displaying it, we’re also validating that history, and maybe subtly questioning the role of labor today. Thanks for pointing that out! Curator: And thank you for your keen observation! I've also gained a fresh perspective on how seemingly mundane items can provoke important historical insights.