Sappho, siddende med sin lyre, i baggrunden hviler en hermafrodit 1743 - 1809

Editor: We're looking at "Sappho, sitting with her lyre, in the background rests a hermaphrodite," a drawing in ink by Nicolai Abildgaard, created sometime between 1743 and 1809. It’s quite evocative; there's a real sense of melancholic contemplation. What do you see in this piece, particularly in how it portrays Sappho? Curator: It’s crucial to situate Abildgaard’s Sappho within the late 18th-century’s complex relationship with classical antiquity, and its emerging ideas about sexuality and gender. The figure of Sappho was often deployed as a symbol, not just of poetry, but also of female same-sex desire, at a time when such expressions were being both explored and repressed. Editor: So the inclusion of the hermaphrodite isn’t just a classical reference? Curator: Precisely. The hermaphrodite invites us to question rigid gender binaries. Think about the social and political context: the French Revolution was challenging existing hierarchies, and ideas about individual freedom and expression were circulating widely. Abildgaard, working in Denmark, would have been engaging with these discourses. How does this depiction of Sappho with the lyre resonate with notions of female authorship and artistic agency? Editor: I hadn't considered Sappho's agency in that way. It makes me wonder if Abildgaard was subtly critiquing the limitations placed on women's creative expression. Curator: It's a possibility. We must acknowledge the layered nature of historical interpretation and recognize that Abildgaard’s representation of Sappho operates on multiple levels—aesthetic, intellectual, and sociopolitical. It's a piece that continues to spark discussion and encourage different perspectives. Editor: I definitely see the image in a new light now, it's so interesting to think about how it invites questioning of established norms. Curator: Absolutely, and art can still challenge us to see the world with new eyes and promote thoughtful discussion.