Chair, Wing, Turned Front Legs c. 1936

Editor: This is "Chair, Wing, Turned Front Legs," a watercolor and colored pencil drawing by George Loughridge, made around 1936. It strikes me as a very formal and slightly austere depiction of a household object. What catches your eye about this piece? Curator: Well, beyond the somewhat stiff formality you mentioned, I'm drawn to the labor involved in its construction, both in the chair itself and in its representation. Think about the timber milled for the legs, the upholstery work, the dying and weaving of the striped fabric; not to mention Loughridge’s artistic decisions about the colors, perspective and materials used. Does this suggest a mass-produced item, or something more bespoke? Editor: Given the detail, it leans towards bespoke. How does knowing it's likely handcrafted change our understanding? Curator: It asks us to consider the social context. Who commissioned such a piece during the 1930s? What does this reveal about economic disparities and access to luxury during the Depression era? And looking at the drawing itself, how does the application of watercolor, versus, say, oil paints, reflect on artistic choices linked to cost and accessibility of materials? Editor: So you are saying the chair becomes more than just a chair, and the drawing is more than a rendering? Curator: Exactly. It is all about how art is intrinsically connected to material production, economic forces, and the social relations of its time. Thinking about that connection elevates our perception beyond aesthetics alone. What is more interesting than that? Editor: That gives me a lot to consider, examining art from the standpoint of labor, materials and its cultural significance! Curator: Precisely! Art offers valuable insights into the production and consumption patterns within a given society. Now, I have a question for you…