Fontamara IX 1947

Editor: This is Fayga Ostrower’s "Fontamara IX," a print made in 1947. The stark contrast between the blacks and whites creates a feeling of both intimacy and starkness, like witnessing a very private moment in public. What do you see in this piece? Curator: The power of "Fontamara IX" lies in Ostrower's ability to weave together the personal and political. Look at how the figures huddle together; consider the narrative implications in light of 1947. Can you see how the figures almost melt into one another in the inky blackness, set against that landscape? Editor: I do. It's like the environment itself is pressing in on them. So, is this referencing a specific political context, or more generally about displacement? Curator: That feeling is key. Remember that Ostrower, a Jewish émigré from Poland, arrived in Brazil just before WWII. "Fontamara" speaks to collective identity and the search for refuge in the face of unimaginable adversity. It's not just displacement; it’s about building community amidst shared trauma. Editor: That's powerful. So, the intimate setting isn’t just a snapshot of life, but a symbol of resilience. I'm now also considering the idea of collective trauma and how that plays out here. Curator: Exactly. The limited tonal range emphasizes the severity of their reality. Think about the historical moment and the power of simple graphic language to convey profound meaning. The choice of printmaking itself, a medium capable of mass production, suggests the potential for widespread dissemination of their story. Editor: That gives me a completely different appreciation for the work. I came in seeing a simple composition but now I see this work as a testament to the power of community. Thank you! Curator: Indeed. Ostrower pushes us to contemplate the enduring impact of conflict on our shared humanity.