Brooch c. 1937

Curator: Before us, we have David P. Willoughby’s study of a “Brooch,” created around 1937, rendered in watercolor and charcoal. My first impression is a curious one—there’s a sort of meticulous delicacy to it, presented in triplicate. Editor: Triplication certainly emphasizes its art deco stylings; though the cool presentation hints at the mechanization encroaching into jewellery. One could compare this precise watercolor illustration to, say, product design blueprints from the same era, with the goal of mass reproduction and affordability, but rooted in historic aesthetics. Curator: Precisely! The piece captures this tension of tradition being subtly encroached upon by industry. Note how Willoughby provides not just the face, but also the side profile and back view, revealing the functional pin mechanism. It's an analytical perspective. Each angle tells its story; consider how it would actually be worn in society. Editor: You read a sense of encroachment from the views, I agree. I find the tonal balance here especially compelling. The dark frame is an intense constrast against the ornate cameo inside. Its composition feels incredibly poised, almost like a symbolic power play between modernity and timeless adornment, using dark framing and rich hues to establish dominance. Curator: It makes me wonder what the commission for the artist was like at the time. Was this made for promotional purposes? The way this rendering of light gives form to its objecthood. Its surface shines as a way to represent its luxurious texture. The cameo depicted is itself an old form in need of continuous rejuvenation. It has this tension between progress and preservation. Editor: Absolutely, one can’t help but wonder about its original intention within wider visual culture; the artist so elegantly manages to draw us into contemplation. Curator: True; Willoughby encourages us to explore jewelry as artifice, as well as societal value. It almost encourages questions about ourselves. Editor: I find it intriguing, that the decorative style persists still and has meaning; Willoughby truly encapsulates that complexity.