Figurehead of Rembrandt c. 1938

Curator: Before us, we have Frances Cohen’s “Figurehead of Rembrandt,” created around 1938 using pencil and charcoal. What strikes you first about it? Editor: Immediately, I'm drawn to its muted color palette and how it achieves such a sculptural presence on a flat surface. The stark contrast against the grey-blue background makes the figure almost jump out. It feels monumental despite, I imagine, being a relatively small work. Curator: Cohen, a sculptor herself, likely produced this drawing not as an end in itself but as preparatory work, maybe a study of light and form. Considering this in the context of the 1930s, amidst economic depression, it speaks to the continued cultural reverence for the masters. Reproducing Rembrandt, even as a 'figurehead,' situates the artist within a lineage of Great Art, a form of cultural capital. Editor: True, but even freed of its potential social function, the application of academic principles lends it a unique compositional balance. Note the careful chiaroscuro, lending that powerful illusion of depth, and how the diagonal lines of the pose are countered by the verticality of the figure, creating this captivating stasis. Curator: Absolutely. I wonder about the labor involved in this process, especially given Cohen's background as a sculptor. Is this a form of 'work,' a sketching of ideas towards material realization? The choice of materials too – pencil and charcoal – affordable and accessible, reflects the period and the accessibility of art making despite hardships. Editor: Don’t dismiss the materiality itself, even through a focus on its construction! Observe how Cohen uses charcoal to define the subtle nuances of light on the figure’s face and costume, capturing an almost photographic realism within the context of art deco portraiture and academic practice. Curator: It's intriguing to view this 'academic realism' then as an embodiment of economic realities through humble mediums but aimed toward traditionally valued representational goals. Thanks for walking through this image with me; I’ve had some new thoughts on the nature of the 'figurehead' as a marker both artistic ambition and societal reflection. Editor: And for pointing to labor itself. Seeing art beyond aesthetics to acknowledge the value-making practices, both cultural and historical, makes the experience so much richer!