Child's Shoes c. 1940

Curator: A graphite drawing of children's shoes from around 1940. They strike me as delicate, almost spectral. Editor: Indeed. The subdued palette amplifies that impression. I'm struck by the craftsmanship visible, the meticulous layering of graphite creating these tactile surfaces, especially the embellishments around the ankles and toes. Curator: Absolutely. Consider the labor that went into not just making the shoes, but representing them this way. A drawing so committed to verisimilitude speaks to the cultural value placed on children's wear, its role in projecting status even during a period marked by war and hardship. Editor: It also evokes an aura of innocence and bygone childhood. Those small buttons lining the sides are very captivating in their visual cadence, contributing rhythm and form. And the heels—the perspective here offers an illusion that allows us to ponder space and form, creating dimension with graphite shading alone. Curator: Don't forget the material conditions. Graphite, readily available, cheap – yet capable of producing this level of refinement. How does that tension play into wartime economies, domestic realities, the artist’s circumstances? Editor: You're right; it's deceptively rich given its simplicity. Even that pale, creamy ground. Notice the weave of the paper supporting those textures, it reinforces that fragility. Curator: Shoes, fundamentally functional items. Here, elevated through artistry to reveal the story of its creation and the societal narratives surrounding them. We get to see how these common materials acquire uncommon meaning. Editor: I now view "Child’s Shoes" with newfound interest after our chat. Stella Mosher presented a symphony of form and material. Curator: A simple pair of shoes can unlock intricate understanding about labor and artistic choice in a specific moment in history. It's remarkable.