While the white-line woodcut dominated the printmaking scene in Provincetown, many artists continued to practice established methods of printmaking. Marguerite Zorach – and her husband William Zorach – spent time between New York and Provincetown, working primarily in black-and-white linocuts, a choice which eschewed the typical Provincetown proclivity towards the color woodcut. Despite not embracing the white-line woodcut technique, Zorach’s exposure to the prolific printmaking community in Provincetown inspired a fruitful period of printing linocuts for the couple.
Interior of Tenth Street attests to Zorach’s immersion in sophisticated Cubism during her earlier days in Europe, where she met Pablo Picasso, along with Henri Matisse and Henri Rousseau. The print presents Zorach herself, one of her children, and a pet in a Cubist depiction of the Zorach’s Greenwich Village home at 123 West Tenth Street, where the couple lived for 25 years; the neighborhood would soon become a bustling hub for New York artists, namely the Abstract Expressionists, who lived, worked, and exhibited in the area. The Zorachs' own apartment on West Tenth Street is rendered with melded planes and transparent angles, interspersed with swatches of patterns. Utilizing only the briefest hatchings, squiggles, diamonds, and squares, Zorach depicts her life at a time of transition, when she was balancing artmaking and mothering. Through the shifting planes of Cubism, Zorach defines her life as interdependent with her art and home.