Calash c. 1936

Fanchon Larzelere made this drawing of a calash, sometime between 1855 and 1995, using what looks like watercolour and ink. It’s a delicate piece, isn't it? Look at how the subtle washes of pale green and grey create the form of the bonnet, giving it a soft, almost ethereal quality. The fine lines defining the pleats and folds remind me of architectural drawings, precise and measured. Yet, there's a looseness, too, especially in the ruffled edge, suggesting a sensitivity to the material, to the way fabric drapes and gathers. I keep thinking about how this work relates to fashion plates, or botanical drawings, where capturing the essence of an object is paramount. Larzelere reminds me a bit of Agnes Martin, in the sense that both artists use minimal means to create something quite profound. And maybe also, this connects with the work of Ree Morton, who made sculptural objects that looked a bit like props for a play. Like both of them, there's a quiet confidence in Larzelere's work, a willingness to let the image breathe. It’s a reminder that art isn't always about grand gestures, but about seeing the world with a gentle eye.