Seated nude 1910

Editor: This marble sculpture, "Seated Nude" by Roger de La Fresnaye, dates to 1910. The pose feels both relaxed and classical to me, like she's been sitting for centuries. It makes me wonder about the role of the nude figure in art. What are your initial thoughts on this piece? Curator: The history of nude sculpture is inherently political, reflecting societal values regarding beauty, the body, and even power dynamics. Considering the historical moment - early 20th century – La Fresnaye’s nude takes on new meaning. Does she remind you of anything familiar? Perhaps from ancient Greek or Roman sculptures? Editor: Yes, now that you mention it, there's a definite neoclassical vibe, but stripped down. Less idealised, maybe? Curator: Precisely. The return to classical forms was, at that time, loaded. Think of the public role sculpture was expected to play. What values was it supposed to uphold? Editor: I guess artists like La Fresnaye were pushing back against those expectations by simplifying the forms and moving away from overly-romanticized portrayals. Curator: Exactly. The classical form is evoked, but the execution isn’t reverential. What do you make of that ambiguity? It’s no longer purely celebratory of the ideal form. The turn-of-the-century interest in classical antiquity served diverse functions within visual culture, not all of them flattering or innocent. Editor: So, it’s a comment on the existing art world, too, by subtly subverting expectations. That makes me think about who this piece was actually intended for, who could understand that dialogue between classical form and modernist simplification? Curator: The reception of work like this illuminates who it included, and just as importantly, who it excluded, in terms of an audience. Editor: This has made me appreciate how the historical and cultural context drastically changes our understanding of something as seemingly simple as a nude sculpture.