Two Gentlemen 

Curator: Looking at this watercolour drawing called “Two Gentlemen” by Ludwig Bemelmans, the first thing that strikes me is the simplicity of the lines, creating almost caricatured figures. They certainly seem imposing and a bit stern, wouldn't you say? Editor: Imposing, yes, and instantly signaling a very specific kind of masculinity—overbearing, perhaps even bullying. The larger figure’s gesture, that insistent pointing, immediately positions him in a power dynamic relative to the smaller man. What does it tell us about the social and political climate in which such images circulate? Curator: It’s fascinating how much can be conveyed with so few strokes. Bemelmans’ use of watercolor—look at how the pigment bleeds—gives a kind of fluidity to the drawing. Consider, also, the subtle use of color, which seems to hint at character. The greys against the warm browns... it’s quite intentional, I think. It invites us to imagine them within their particular milieu and to infer specific material information from that, as well. Editor: And, in thinking about materiality, watercolor as a medium feels almost deceptively delicate given the content of the image. These men are presented as quite sturdy. The bloated bodies and the tension this poses relative to the apparent fragility of the watercolor underscores, for me, the hypocrisy of such power. Who benefits from the maintenance of these power dynamics, these modes of seeing? What histories and ideologies are implicitly endorsed or challenged by their construction? Curator: Well, Bemelmans was an illustrator and writer. You’d find a similar approach across his children's books as well. And the printing technology available at the time certainly guided those kinds of choices, for both economical and practical reasons. In order for the drawing to appeal, in other words, it needed to be fairly clear and easily understood. This isn't to excuse any particular stance, but, given his place in a social milieu, this approach was also very sensible from a practical point of view. Editor: Right, so situating it within the industry that upheld specific means and approaches certainly impacts our reading. A drawing like this prompts reflection on the construction of social hierarchies. Who is allowed to occupy spaces of power? And what role does art play in reinforcing or subverting such norms? Curator: Yes, I suppose that's something to consider, as is, how this drawing might, even if unintentionally, highlight particular issues that resonate for many viewers today. Editor: Indeed. An interesting reminder that the traces of power always find their way to the surface, demanding to be read.