Le Billet Doux. Mongole 1955

Curator: Look at this intriguing piece! "Le Billet Doux. Mongole," or "The Sweet Note. Mongolian," a woodblock print by Paul Jacoulet, created in 1955. Editor: The colours practically hum. She's swathed in vibrant purples, yellows, and reds...it almost feels like a stage costume. Melancholy and exotic. Curator: Jacoulet spent years in Asia, absorbing the techniques of traditional Japanese Ukiyo-e woodblock printing, which he then infused with his own style, usually tinged with an orientalist lens. His works depict figures he encountered throughout his travels. Editor: It's important to recognize the tension within orientalism. This is not a simple, faithful representation. The woman is shown as passive and idealized. Who really holds that "sweet note" in the relationship, then? What narrative is Jacoulet constructing, and who is he constructing it for? Curator: A point well taken. Her averted gaze and slight smile definitely evoke a certain coy mystery. You have to admit, though, that he achieved such exquisite detail. The textile patterns and the meticulous gradations of color speak of countless hours of patient craftsmanship. Editor: And it speaks of systems that prioritized and uplifted work of a particular man while eclipsing so much from so many others. Curator: All the same, despite those concerns, I'm fascinated by his blending of traditions, his dedication to a disappearing craft. His prints remind me to always look beyond what I believe to be obvious. It shows how complex things can become when we look back. Editor: I agree, engagement can spur such useful discourse about art's role in either dismantling harmful stereotypes, or, too often, reinforcing them. This piece is lovely to regard, but so complex.