Immaculate Conception 1935 - 1942

Majel G. Claflin made this watercolour, Immaculate Conception, sometime before 1941. Look at how the artist layers thin washes of colour, letting the paper peek through—it's almost like the figure is emerging from the background, or maybe dissolving back into it. I love the texture she creates, especially on the figure’s robes. You can almost feel the rough, worn surface of the wood. The paint isn't trying to hide anything. Instead, she celebrates the imperfections, the cracks, the history etched into the material. Notice the way Claflin uses blues and greens, mixing them to create depth and shadow, but also keeping them light and airy. It gives the figure a ghostly, ethereal quality. The red cuffs and trim are the only place she uses bold colour, drawing your eye to the hands in prayer. This piece reminds me a little of Marsden Hartley, particularly his interest in folk art and religious iconography. Both artists shared a love for simple forms and a deep appreciation for the beauty of everyday objects. In the end, it is a beautiful reminder that art is about seeing, feeling, and embracing the imperfect.