Studies of Jean c. 1920

Editor: So, this is "Studies of Jean," a pencil drawing by George Bellows, around 1920. I'm struck by its immediacy. It feels like a quick study, capturing different angles of the same face. What do you see in this work? Curator: It’s a deceptively simple work. Bellows, often celebrated for his depictions of urban life and boxing matches, reveals a tender, perhaps paternal gaze here. But it is worth asking who gets portrayed in art. Notice the sitter: a young white girl, presumably of a certain social class given Bellows's typical milieu. Editor: I see what you mean. The composition focuses solely on her face, with seemingly casual and rapid strokes defining her features. How might that social context you mention shaped how she was viewed, and how Bellows chose to portray her? Curator: It’s about power, really. White women and girls of a certain class are often depicted as innocent and pure in Western art. These depictions are rarely 'innocent'; instead, they uphold structures that grant privileges based on gender, race, and class. Bellows' work, viewed through a contemporary lens, makes us reflect on the very act of seeing and representing others. How does it feel to be aware of that while looking at this artwork? Editor: It definitely adds layers I hadn’t considered, thinking about who has historically been considered worthy of portraiture, and the associated power dynamics. The casual style feels almost complicit now. Curator: Exactly! This simple drawing becomes a prompt to question historical biases in art and representation. Editor: Well, I'll definitely look at seemingly straightforward portraits differently from now on. Curator: That's the goal: to keep the dialogue going.