Audrey Macmahon 1947

Editor: This is Nahum Tschacbasov’s 1947 etching and graphite print titled "Audrey Macmahon." It’s quite striking! The sharp lines and almost fragmented depiction create a feeling of tension or unease. How do you interpret this work, especially the elaborate headpiece? Curator: The headpiece immediately draws my eye, too. Think of crowns – throughout history, they have signified authority, divinity, but also, burden. In this modernist rendering, it's deconstructed, almost weaponized. Does it protect or imprison? It reflects a postwar anxiety, doesn’t it? We see traditional symbols turned on their head, reflecting a loss of innocence and faith. What emotional resonance does this have for you? Editor: I see what you mean about the anxiety. The stark contrast and sharp angles definitely amplify that feeling. It almost feels like she's wearing a crown of thorns rather than something celebratory. Curator: Exactly. Tschacbasov uses figuration, yes, but he undermines its classical sense of beauty. Notice the half-shaded face; is it hiding something? It invites us to consider the masks we wear, the constructed identities we present to the world. The medium, etching, allows for a fine, almost scratchy line, adding to the unsettling mood. Editor: I didn't consider the half-shaded face as a mask before, but that makes a lot of sense. It definitely adds to the overall sense of mystery. Curator: And the 'mystery' speaks volumes, doesn't it? The power of visual symbols is that they are not didactic but polysemic. Their meaning evolves as society and culture evolves. Think about how audiences read this today, versus in 1947, right after World War II. Editor: That’s a great point. I’ll definitely look at portraits differently from now on!