The Return of Odysseus 1977

Editor: Here we have Romare Bearden’s 1977 mixed-media collage, “The Return of Odysseus.” It's quite striking with its mosaic-like composition and bold use of blues, creating a formal stage almost. What can you tell me about Bearden's choices in constructing this scene? Curator: Formally, Bearden’s method involves fragmenting and reassembling images to construct pictorial space. Consider the flatness of the picture plane and the ways in which various shapes coalesce without reliance on traditional perspective. Note also the geometric forms, echoing Synthetic Cubism and, further, referencing Bearden’s own engagement with jazz music--improvisational structure, thematic repetition, all visible formally in the work. Editor: Jazz...that's an interesting way to interpret it! So it's less about depicting a scene and more about the formal relationships between the shapes and colors? Curator: Precisely. Consider the way the picture is framed: it appears stage-like. But is that the objective? No. The goal is for viewers to deconstruct meaning from formal qualities rather than illustrative intent, using semiotic cues from a historical narrative to explore space. Notice the symbolism – ship as passage, Odysseus rendered, in pieces – what of Penelope? Do we consider the architectural rigor of weaving within domestic, feminine space? Editor: This makes me see the artwork in a totally new light; before I was caught up in the figures but now it's about Bearden's technical construction! Curator: Yes! Attending to formal components encourages a nuanced appreciation, moving beyond narrative expectations. It shifts from "what" to "how." Editor: I now understand how considering the shapes, colors and techniques brings entirely new dimensions into the discussion! Curator: Indeed, by shifting our attention, this image opens up several other art historical concepts that speak directly to the modernist and contemporary aesthetic.