Chair Cover

Curator: Here we have Mabel Ritter’s “Chair Cover,” a watercolor and drawing work from around 1937. It features a geometric dog rendered in what looks like cross-stitch. What are your immediate impressions? Editor: Well, it certainly has a quaint charm. The pixelated style is interesting, almost a pre-digital aesthetic. There’s a certain naivete in the depiction, particularly in the way the dog’s form is suggested through the squares. It's like looking at something low-res, but lovingly rendered. Curator: Exactly. Ritter, though not widely known, worked during a period when women artists often explored domestic crafts and translated them into artistic expression. Pieces like this “Chair Cover” highlight how traditional crafts, usually undervalued, were being re-envisioned and elevated as art. It reflects the broader societal discussions around gender and art at the time. Editor: I see your point. Considering its formal aspects, there is a tension created between the geometric structure of the design and the organic shapes of the dog and the surrounding foliage. Also, note how the background texture subtly contrasts against the smoother portions of the canine. It has a strange visual depth. Curator: I agree. And it is quite fascinating to see that during that time period many artists tried to either conform or disrupt established categories of what was considered “art” within art institutions. This work makes me wonder if this “Chair Cover” was created to question just that. Editor: Ultimately, this piece leaves me contemplating the intersection of craft and fine art. The materiality and intentional construction of this watercolor drawing allows to decode its beauty. Curator: Indeed. Ritter's “Chair Cover” not only presents a visually engaging scene but also encourages us to appreciate the historical context. The drawing opens discussions on the changing roles and perceptions of art.