Grand-Mère & Petite-fille 1920

Editor: George Barbier's mixed-media drawing, "Grand-Mère & Petite-fille," created around 1920, presents us with two figures starkly contrasted in style. I’m really struck by how this seems to highlight the evolution of fashion, but it also feels like more than just style. How do you interpret this work in relation to changing social roles of women at that time? Curator: That’s a keen observation. Barbier positions these figures not merely as aesthetic objects, but as signifiers of shifting identities and social dynamics. The figure on the left, with her voluminous, historical gown, evokes the restrictive norms of previous generations. The figure on the right embodies the modern flapper – a symbol of newfound freedom. What do you notice about the ways Barbier uses line and colour to separate these figures and the worlds they occupy? Editor: The older figure is rendered in softer pastels, more flowing lines; it's all very Rococo. The flapper, in comparison, has bold geometric patterns, a sharper silhouette. The colour palette seems intentionally bolder too. It's like Barbier's not just showing the changes, but also making a statement about what's “in” and what's "out.” Curator: Precisely. The composition can be read as a commentary on generational tension and the negotiation of tradition versus modernity. The flapper's direct gaze and assertive posture challenge the demure pose of the older woman. Consider how this image would have been consumed in the 1920s. Might it have been a subversive gesture to champion this “new woman?" Editor: That's a good point, it's hard to see it now but back then, maybe this was pretty radical! I initially just saw fashion, but understanding it as a dialogue on evolving identities makes it far more powerful. Curator: And that, I think, is the value of situating art within its complex social tapestry: we gain insight into the visual strategies used to shape, resist, and reflect the evolving cultural landscape.