Thoth Tarot 1943

Editor: So, this watercolor painting is called "Thoth Tarot," created in 1943 by Lady Frieda Harris. The composition immediately strikes me as both mystical and slightly unsettling with these geometrically arranged cups. What do you see in this piece, particularly in its symbolic language? Curator: I see a deeply layered exploration of esoteric knowledge, filtered through the lens of the tumultuous 20th century. Harris collaborated closely with Aleister Crowley, and the Thoth Tarot reflects their shared interest in dismantling traditional, often patriarchal, structures of understanding. The Art Nouveau style, here, is not just decorative; it’s a deliberate attempt to access a deeper, more intuitive realm of knowing. How does the imagery make you feel, considering the context of the Second World War during its creation? Editor: That's interesting. Now that you mention it, the imagery does seem like a counterpoint to the prevailing anxieties of wartime, almost like an attempt to find solace and meaning in a world seemingly gone mad. Do you think the use of geometric forms, specifically, serves to impose a sense of order? Curator: Precisely. The geometric arrangement speaks to a desire for control and understanding in the face of chaos. But consider also the fluid nature of watercolor and the recurring motif of cups overflowing with water – a classic symbol for emotion. It presents us with the inherent tension between reason and feeling, control and release, which has been central in feminist theories. In the social contexts of art-making and theory, have these geometric constructs been beneficial, oppressive, or a mixture? Editor: I can see that. It's about finding balance and order amid turbulent emotions. I had not considered that. Thank you! Curator: And in turn, your observations bring to light the ongoing quest to reconcile structure and emotion, echoing conversations in critical theory. It's a fascinating interplay!