Harcourt reinterprets a woodblock-printed canvas from the second half of the eighteenth century, held in the Pierre Frey archives — a Rousseauist celebration of nature's abundance, its grapes arranged in stripes. It is printed on linen laminated to a non-woven backing, so the drawing sits on a woven grain. Its balance comes from the natural imperfection of the hand that made the original, which is precisely what a mechanical redrawing would lose.
