Anabasis 1957

Curator: This lithograph before us, entitled Anabasis, was completed in 1957 by Benton Spruance. Editor: It feels both ancient and freshly imagined—almost like looking at a tapestry worn thin by time, where colors are muted but the underlying story pulses vividly. Curator: Anabasis means "the march up country," often referencing Xenophon's journey. Spruance frequently explored narratives, didn’t he, through figuration in these very compelling landscapes. Editor: Exactly. And there’s such a striking dichotomy between the flatness of the forms and the depth hinted at by the receding planes. I love the geometry implied by how all elements intersect; it feels deceptively primitive. It’s the way the artist builds tension between these perspectives. What meaning do you get from that use of structure? Curator: It speaks, I think, to the complexities inherent in such journeys—the internal and external landscapes traversed. There is also this heavy overlay, especially, I think, when studying Spruance. And also notice how light becomes a character, the sun or moon acting like a kind of sentinel over this group of figures. It does become symbolic of guidance and purpose for their expedition, perhaps. Editor: Ah, you noticed how there is also a recurring motif in the artist’s pieces. We could note for our visitors about that specific, symbolic intent… It adds a very surrealistic edge. What kind of impression do you think he wishes the viewers to get through these mediums? Curator: Well, perhaps to confront what lies both within and around us during the act of moving towards goals—and notice the bold strokes! This encourages that kind of self confrontation to truly see something unique in oneself through observation. Editor: Yes, it almost prompts us to overlay our own internal quest onto that horizon! This work isn't about one past event only: its forms suggest journeys and challenges yet to be understood. Thank you for your insights; a valuable takeaway before heading on to our next stop.