Untitled 

Curator: Before us, we have Harrison Fisher's "Untitled," a work that seems to capture a fleeting moment of beauty. What springs to mind for you looking at this image? Editor: It has a dreamy, almost melancholy feel, wouldn't you say? Like a nostalgic echo of a bygone era with a restricted color pallette. Also the emphasis on fashion, in particular that elaborate hat makes one ask about how its manufacture relates to our culture and social status? Curator: Precisely. There is a romance here, undoubtedly influenced by the artistic spirit of Romanticism—but its filtered through the lens of academic portraiture. Fisher was well-versed in the style of his time, a master of capturing feminine grace. I feel like the delicate brushstrokes create a real feeling of longing, even a vulnerability to the subject. Editor: What about the hat itself? The use of what appear to be natural materials in it construction, possibly feathers. What can we ascertain of the acquisition and commodification involved in turning living animals to aesthetic embellishments for wealthy consumers? That is another interesting question arising out of materiality. Curator: You raise a complex question about our relationship to nature in the construction of these idealized images of beauty. As an artist, though, I feel drawn to the very tangible sensation I experience when looking into those eyes. Editor: Indeed, it invites consideration of beauty's construction—both within the frame and in a larger societal context. Curator: True. I also think the slightly cartoonish presentation suggests some kind of satirical commentary. The tension in a lot of women’s illustration is related to commercial interests. It is always there under the pretty presentation, and I cannot but take note of this artist's involvement in those conditions. Editor: Yes, quite illuminating, I must admit. By discussing the subject matter of production we gain some interesting perspectives for contemplating Fisher's piece.