Mathilde Stern, geb. Porges 1889

Curator: Up next we have "Mathilde Stern, geb. Porges," an 1889 oil painting by Anton Romako. Editor: Immediately, there's something almost unsettling about it, don't you think? It's romantic but with this undercurrent of, I don't know, maybe a stifled scream? She’s engulfed by these vibrant greens behind her. Curator: It’s fascinating you say that. Romako had a penchant for portraying his subjects with this...almost feverish intensity, wouldn't you agree? "Mathilde Stern, born Porges," the painting's subject, exists in the high society of the time and this piece demonstrates so much of its romantic spirit, but with hints of expressionism yet to come. Editor: Yes, that intensity, and all that swirling detail...it nearly smothers her. There's such darkness in the lace and folds of her dress, and she's juxtaposed against what appears to be a kind of Edenic garden just out of focus and almost threatening. Is she confined by the norms of her era or blossoming beyond them? It’s hard to know! Curator: A good point! I do see a contrast, where Romako is really commenting on the roles and limitations placed upon women of that era, perhaps? You see, the painting’s success stems not only from the rich symbolism but how the painting itself creates Mathilde Stern, as a subject caught between her surroundings. It's the artistry itself that crafts meaning and invites inquiry, it's what makes it unforgettable, right? Editor: Exactly! It’s almost like Mathilde isn't just sitting for a portrait, she is wrestling with existence. She is sitting gracefully enough but her face is screaming so much at the same time. Curator: The real achievement may be that this one piece captures a single person and simultaneously paints the portrait of an age. Editor: So beautifully put. And leaves you with a quiet sense of disquiet...as art should, perhaps?