Portrait of a Witch 1976

Curator: Standing before us is Robert Maguire's "Portrait of a Witch" from 1976. It's a compelling work steeped in the visual language of fantasy illustration. Editor: My first thought is that the painting has such striking energy; the limited red palette and chaotic hair create a feeling of raw power. The woman's gaze is captivating and confrontational. I wonder about the materials; it feels so immediate. Curator: Indeed. Maguire was quite popular in the pulp fiction and paperback industry, producing countless book covers. In those markets, there were trends. Fantasy artwork often reflected the tastes of the editors. Editor: So, his work was, to some extent, constrained by market demands? Thinking about acrylic paint: how the production costs influenced artistic decisions intrigues me. Was it selected to achieve vivid colors, or as a pragmatic option for creating lots of works under short deadlines? Curator: The quick drying time certainly facilitated a faster production workflow. And the figure of the "witch," became somewhat symbolic during the second wave of feminism, an emblem of empowered womanhood. Editor: An interesting observation. When examining works that are part of pulp magazine production it is valuable to think of the production processes themselves. I think these things, as they’re handled, can speak just as much as what's represented by them, too. Curator: Absolutely. The original cultural purpose is as vital as the material culture in a case like this. The neo-expressionistic handling of form further emphasizes that almost wild, untamed spirit you observed. It both aligns with, and maybe pushes against the popular tastes of that moment. Editor: I find it amazing how one colour, handled well can provide form, movement, but also set such a firm tone. Thinking about how it was created, who created it, who made the canvas and pigments – these histories give the painting an added dimension. Curator: I concur; by exploring all possible influences to this, we gain insights beyond aesthetic and the role of image and imagination in society. It invites reflection on our notions and projections on to archetypes. Editor: Seeing "Portrait of a Witch" with you has reminded me to seek production details in any artwork, irrespective of genre. Curator: And for me, it reinforced the point, that the most apparently 'low' or commercial work can hold fascinating connections to high cultural moments.