Historical Printed Cotton c. 1939

Curator: This "Historical Printed Cotton," dating circa 1939 and created by Suzanne Roy, presents a fascinating look at American iconography during a turbulent era. Editor: It's a striking piece, immediately giving off a nostalgic, almost reverent mood. The symmetrical arrangement of the presidential portraits within laurel wreaths really emphasizes a sense of historical continuity and officialdom. Curator: Exactly. Roy uses George Washington and Benjamin Harrison to bookend a century of American presidential history, visually collapsing time. Note the context. Made on the eve of World War II, its a moment of heightened nationalism reflected through nostalgic, romanticised visuals, Editor: And the placement of the American flags, bracketing the eagle at the bottom—powerful symbols! The eagle especially is interesting. Its placement, nestled amongst the flags, is defensive, in my view, like a guardian. Is it meant to be a defiant embrace of traditional American values amidst global unrest? Curator: It certainly seems a reinforcement of those values and, yes, potentially defiance. Think of the socio-political backdrop: the rise of fascism in Europe, economic instability still lingering from the Depression. The flags and the eagle – symbols of freedom and resilience. They reinforce these historical portraits as cornerstones of national identity and fortitude. Editor: The artistic technique amplifies that sentiment as well. It's not just printed cotton; there's a drawing and collage element, with something akin to coloured pencil enhancing areas. It looks almost hand-worked in sections. This melding of printing and what appear to be hand applied drawing elements give it the aura of the handcrafted—of enduring and time-tested symbols recreated as homage. It suggests a desire for a tactile connection with the past. Curator: It also hints at a past idealized, maybe sanitized. By presenting a simplified, composite past—only focusing on former leaders—this artifact becomes something that does more than offer simple reflections, becoming an active contribution to building collective identity, while minimizing some realities. Editor: I think that's spot-on. So what we're seeing isn't just a historical record. It's a carefully constructed visual argument about national character, crafted at a moment of national anxiety. The symbolism then is doing much more than just reiterating standard patriotism. It is reassurance, like a form of national mythmaking in the late 1930s.