Mirror c. 1937

Editor: This drawing from around 1937 by Wellington Blewett, simply titled "Mirror," is rendered in watercolor on paper. What strikes me is the ornate, almost theatrical quality, a real sense of idealized luxury from another era. How might we interpret this through the lens of its time? Curator: It’s a fascinating piece. Blewett’s mirror, with its blend of classical motifs and a subtly rendered landscape vignette, speaks volumes about the aspirational desires prevalent during the late 1930s. Consider the decorative arts' role in shaping identity. How does the mirror—traditionally a tool for self-reflection—intersect with the social and economic realities of its time? Editor: Are you suggesting it was a form of escapism or perhaps a way to project an idealized self? Curator: Precisely. The detailed craftsmanship contrasts sharply with the socio-economic anxieties of the Depression era, when many struggled with poverty and uncertainty. The presence of the mirror itself invites viewers, then and now, to participate in the construction of a carefully curated identity, perhaps masking a reality they wish to transcend. Who has access to that kind of luxury or that constructed sense of self? Who is left outside the frame? Editor: That makes me think about how access to beauty and self-presentation were, and still are, unequally distributed. The mirror, rather than just reflecting, becomes a symbol of that disparity. Curator: Exactly. Art, especially decorative art like this, isn't created in a vacuum. By engaging with its historical and social context, we can uncover profound narratives about power, identity, and representation. What do you take away from that consideration? Editor: Thinking about the work as a dialogue on identity and social inequity gives it a much more urgent feel, it's less about beauty, and more about…belonging. Curator: Indeed. And the conversation continues.