First Eclogue: Goats with Newly-Born Twins (Chevre et chevreaux) Possibly 1926

Curator: Welcome. We are looking at Aristide Maillol's woodcut, "First Eclogue: Goats with Newly-Born Twins," believed to have been made around 1926. What strikes you first? Editor: It has a remarkable serenity. Even though it's just lines on paper, the texture, particularly the fur of the goats and the plants, feels almost tactile. Curator: The deliberate use of line is a significant aspect of the woodcut process. The artist carved away at the wood to produce these forms. It would be interesting to examine the tools Maillol would use to produce these lines in the print, such as gouges. Editor: Yes, and observe how the simplicity becomes its strength. The goats themselves are potent symbols of pastoral life and innocence, frequently recurring in classical art. It brings up connotations of renewal, abundance, and the sacredness of nature. Curator: Considering the historical context, the late 1920s witnessed both economic boom and creeping instability, so to look at how he sourced his material tells a lot about society then, as there would have been greater resources and freedom to experiment than perhaps previously available. Editor: I also wonder about the decision to feature newly born twins. It suggests not only physical birth but also the birth of a new era, a theme commonly associated with eclogues. Visually, the clustered imagery could evoke a sense of unity, reflecting the idealised pastoral life. Curator: These associations speak directly to how the labour and the available resources enabled the flourishing art scene we saw during this time, a symbol to look at in times of economical growth and industrial progress. Editor: Absolutely. Reflecting on this, I am reminded of the enduring power of simple imagery and how skillfully chosen symbolism resonates through time. Curator: And, I would add, how integral it is to remember and appreciate the tangible processes behind creation.