Sunday Morning 

Curator: Ah, "Sunday Morning" by William Meyerowitz. There is an ethereal, almost dreamlike quality to it, isn’t there? Editor: Absolutely. My first thought was actually about the materials—watercolor, possibly with some printmaking elements—creating this very textured surface that diffuses the light beautifully. Curator: Indeed, the light is key. Meyerowitz was working within an Impressionist tradition, focusing on fleeting moments and the effects of light on form, capturing the scene and focusing on the experiences of those figures presented. Do you sense a commentary on class? Editor: The fact that he chose to work with more accessible media like watercolor and print could itself be seen as a political statement. Watercolor allowed for mass production, thus mass consumption. Curator: That’s a powerful perspective. Thinking about the subject matter—these figures strolling—there's an element of leisure, right? Access to leisure, traditionally something reserved for the upper classes. What are the means that grant people access to this moment in time and the possibility to partake? Editor: Definitely a consideration, even with the seemingly mundane theme of strolling people. He may well have observed it, made preliminary sketches from life to seize the moment and then retreated to his studio and crafted it. Meyerowitz is highlighting labor even here. Curator: I find it fascinating how Meyerowitz uses light to almost dissolve the forms, blurring the lines between figures and environment, underscoring themes of identity and marginalization through form. Editor: It really makes you wonder about the accessibility of this moment – both within the painting itself, and also the act of making the work and the materials the artist chose. It is no secret that women and minorities had less access to art institutions. Curator: This exploration truly enhances our understanding of "Sunday Morning." Editor: Absolutely, it's about the conditions of access and material accessibility, after all.