Europa bortføres af tyren 1915 - 1919

Curator: What we have here is a drawing by Karl Isakson, titled "Europa bortføres af tyren," dating from between 1915 and 1919. It's currently held at the SMK, Statens Museum for Kunst. Editor: Wow, talk about drama! All those frantic pencil strokes give such a sense of movement, like everything is churning. It’s not beautiful in a conventional way, it’s like feeling the myth unfold in real time, slightly terrifying. Curator: Isakson certainly captures the abduction’s raw energy, doesn’t he? You know, this sketch, rendered with pencil on paper, is a fascinating example of figuration within a landscape. It clearly echoes romanticism while also engaging with historical painting conventions. One wonders what paper and graphite source he was using at that time given the darkness achieved on the page. Editor: The "historical painting" aspect interests me… It makes me wonder what Isakson thought of the actual Europa in the story, and what she had to say about the whole "being carried away by a bull" situation. Poor woman. Did she want to be abducted? It’s strange that so few artists ask these questions; everyone is so interested in glorifying Zeus instead. The dark pencil only adds to this idea for me. Curator: The drawing serves as more than a depiction of the story; it also comments, possibly inadvertently, on the social structures supporting or allowing the mythological events that occur. I mean, how frequently are stories like this truly told from the perspective of the woman that goes through the ordeal? What systems are being reproduced or undermined with this piece. Editor: I get what you mean. He captured a dark scene perfectly using such limited means – only a pencil and a piece of paper to build such complexity. Curator: Yes. The means of production are so deceptively simple but carry so much significance and feeling when combined with a scene like this. Thank you for helping shed a new light. Editor: It was my pleasure to question Europa’s agency as part of this scene; Isakson really helped create a feeling that leaves the door open to ponder on the material.