Standing Roman 1875 - 1890

Editor: Lawrence Alma-Tadema’s charcoal drawing, “Standing Roman,” from sometime between 1875 and 1890. It feels like a snapshot of Roman domestic life. So posed, yet intimate. What details jump out at you? Curator: Ah, intimacy within the grand theatre of Rome. It's like catching an actor backstage, still in costume but momentarily out of character. The way the charcoal captures the fall of light on the toga is masterful; almost sculptural. See how the lines suggest weight and volume, especially around the shoulders? But it’s not just a technical exercise; it’s a window into a mind grappling with an era. Does he seem burdened to you, in his classical garb? Editor: I can see that. A little somber, perhaps? Almost as if the weight of Rome itself is draped over him. I notice he is not looking directly at us. Who do you imagine this person to be? Curator: Precisely! Is he a statesman pondering weighty decisions? Or simply a man contemplating the transient nature of power? I think it reflects the 19th century's fascination with, and perhaps a little disenchantment with, the grandeur of the classical world. The way Alma-Tadema has captured his averted gaze, gives us permission to bring our own emotions. Editor: It does prompt a lot of reflection. Looking closely at this artwork, the classicizing themes blend seamlessly with realistic touches. Thank you. Curator: My pleasure! Each viewing unfolds new stories, doesn’t it? Like finding hidden passages in a familiar palace.