Frightened 1912

Editor: This is "Frightened," an etching by Anders Zorn, made in 1912. It’s a pretty small print, and I find the quick, light strokes give it a fleeting, almost dreamlike quality. What stands out to you when you look at it? Curator: The interesting thing is how Zorn engages with the art historical tradition of the nude while simultaneously challenging the established norms of its time. In 1912, academic standards for the nude often involved idealized, passive figures. Here, we see something quite different: a naturalistic landscape and a sense of unease or flight. Why do you think it’s titled “Frightened”? Editor: Well, they definitely look like they’re hurrying away from something. But, you know, nudes in landscapes were common. What makes this…political? Curator: Precisely because it is not idealized! These aren't goddesses; they appear to be ordinary women reacting to something unseen, perhaps even a social or environmental threat. Zorn offers a contrast to the hyper-sexualized female forms prominent in advertising and entertainment during this era, inviting viewers to consider a more realistic and vulnerable depiction of the female experience. Is the fear in their bodies palpable, or does it feel staged? Editor: Hmm, I hadn't thought of it like that! I can definitely see the vulnerability now. The way he uses the etching lines seems to enhance that sense of anxiety and urgency. It definitely humanizes the figures in a way you don't always see. Curator: Exactly. By grounding the nude in a specific social and historical context, Zorn gives it power and a point. Editor: This has given me a lot to consider about the role of women's representation in art. Thank you. Curator: It highlights the powerful role art plays in challenging or reinforcing existing norms. I'll keep that in mind too.