Detail of Horse's Head, Enlarged to Triple Size, Norman Royal Guard, No. 4 c. 1818

Editor: We’re looking at Carle Vernet's "Detail of Horse's Head, Enlarged to Triple Size, Norman Royal Guard, No. 4" from around 1818, a lithograph drawing currently held at The Art Institute of Chicago. The raw intensity of this horse's expression – it's almost frightening! What do you see in this piece that maybe I'm missing? Curator: Frightening, yes, but also wonderfully theatrical, don't you think? Vernet, son of the celebrated marine painter Joseph Vernet, had such a flair for the dramatic! Look at how he captures the raw energy, the almost operatic agony of this creature. The exaggerated lines, the almost comical flare of the nostrils! It feels like Vernet is less interested in anatomical accuracy and more invested in conveying a certain mood, a spirit of almost untamed power. Have you ever considered that it seems to whisper tales of the battlefield? Editor: Absolutely, now that you point it out. It's hard to miss! Do you think the print medium affects that reading in some way? Curator: Intriguing question! It is a lithograph, lending itself to a certain crispness, a contrast that heightens the drama. I find it captivating how this very 'reproducible' medium serves to amplify such a visceral, singular moment. Like a memory fiercely etched onto paper! It's fascinating to imagine how this would have appeared to audiences familiar with grand military paintings. This feels both intimate and monumental simultaneously! Editor: It's funny; I initially saw just the expression, the surface drama. But now I’m pondering what’s just beneath that wild-eyed surface, what experiences, what histories it might hint at. Thanks so much! Curator: And thank you! You’ve nudged me to see past the 'theatre' and into something rawer, almost painful. Perhaps this horse ISN'T acting! A fine reminder that even the most flamboyant art can hold a very quiet truth.