Entre deux feux. 1922

Editor: So, here we have George Barbier’s "Entre deux feux" from 1922, rendered in watercolor. It depicts three figures in highly stylized traditional costumes. It strikes me as being so theatrical; almost like a stage design. What draws your attention when you look at it? Curator: As a materialist, I’m most intrigued by how Barbier uses watercolor to both depict and, in a sense, perform class distinctions. The costumes, with their lavish embroidery, aren't just illustrations; they are material signifiers of a specific socio-economic sphere. Note how Barbier employs precise, controlled strokes to meticulously recreate these elaborate designs. Editor: Right, the level of detail in the embroidery is incredible. You can almost feel the texture of the fabric. It makes me think of the labor involved in producing clothing like that. Curator: Exactly! The meticulous rendering calls attention to the human effort of their crafting. And that begs the question: Who is making these garments? What is their social position? By showcasing this high level of craftsmanship within an "Art Deco" aesthetic, is Barbier commenting on the tensions between industrialized production and artisanal skill? Editor: So, he's not just representing a scene, he's highlighting the economic relationships embedded in these garments, or more broadly the system of fashion itself. Do you think he's celebrating this craftsmanship or critiquing it? Curator: It’s ambiguous, isn't it? The stylized forms seem to admire the aesthetic qualities, while the emphasis on the crafted nature pushes us to think about the lived experience of the artisan, about class structure, and consumption. Editor: I never thought about watercolor being capable of carrying so much meaning related to the means of production and consumption! It’s a fascinating reinterpretation of what this image means. Curator: Indeed. Examining the material culture embedded in the artwork allows us to reveal the labor that is materialized, quite literally, in fashion of the time.