Two women helping a confessor to climb through a window 1796 - 1798

Editor: Here we have Goya's drawing, "Two women helping a confessor to climb through a window", made between 1796 and 1798, with pen, ink and graphite. I find it interesting how the eye is immediately drawn to the material weight of the women's skirts and cloaks versus the almost comical fragility of the confessor they're assisting. What can you tell me about this drawing? Curator: Look closely at the details - the labor embedded in each mark, each stroke of ink defining the drapery. Consider the social context. The women's clothing signifies their class, their access to resources. This isn’t merely a scene of piety or illicit rendezvous, but a commentary on the Church’s power, negotiated through everyday material exchanges and societal structures. How does the image challenge notions of "high" art through its candid portrayal and apparent ease of execution? Editor: That's an interesting angle; I hadn't really considered that. So the loose, almost sketchy style isn't just about technique, it's also a statement in itself, almost democratizing the art-making process. Curator: Precisely. Goya's choice of materials and methods directly engages with the viewer on a more immediate, less mediated level. The ink, the graphite, the very paper itself--all readily available. Does this make you reconsider traditional art hierarchies that value idealized subjects and polished surfaces? Editor: It certainly does. I guess it encourages you to think about the societal forces shaping art production as much as the artistic intention. Curator: Exactly. Understanding the material conditions, like access to resources, sheds light on the narratives within the image. We are invited to question the relationship between subject, maker, and societal power structures. Editor: This way of analysing artwork definitely makes me think about more than just what’s on the surface. Thanks!