Maud Morgan 1880 - 1898

Editor: Here we have Olin Levi Warner's marble sculpture, Maud Morgan, created sometime between 1880 and 1898. It's currently held at the Metropolitan Museum of Art. The bust emanates a sense of tranquility. What do you see in this piece, looking at it from your perspective? Curator: It whispers of idealized beauty, a conscious echo of classical sculptures from centuries past. The closed eyes, that slight smile… Warner taps into the cultural memory of virtuous women depicted in funerary art, a dream-like state of repose. But I'm also curious, does the smoothness of the marble contrast with, perhaps even amplify, any feelings of internal turmoil suggested by her shadowed expression? Editor: Turmoil? I didn't pick that up. It just seemed very peaceful to me. Almost like she's sleeping. Curator: And that sleep is significant! Sleep, as a metaphor, became very powerful. Think of "sleeping beauty," think of the pre-Raphaelites with their Ophelia imagery. Maud Morgan could symbolize innocence, potential, maybe even unfulfilled dreams… Warner subtly positions her within that visual language. Editor: So, you're saying he’s consciously linking her image to pre-existing ideas of female virtue and tragedy? Curator: Precisely! Warner engages with symbols resonating in the viewer's psyche. By using marble and the classical style, he invokes a sense of timelessness. She becomes more than just Maud Morgan; she becomes an archetype. Do you find that the sculpture challenges or reinforces societal expectations for women? Editor: Hmm, interesting, I see that now. I hadn't considered the symbolic aspect of her closed eyes before. It adds another layer of meaning. Thanks for the insight! Curator: My pleasure! Discovering these interconnected meanings helps us connect with the work on a deeper level.