Titania and Oberon c. 1867 - 1868

Editor: Here we have Paul Konewka’s pencil drawing, *Titania and Oberon*, from around 1867-68. It’s ethereal and dreamlike, quite a departure from traditional academic art, despite being labelled as such. What do you see in this piece, considering its historical context? Curator: What I see is an assertion of individual subjectivity through its raw, almost unfinished quality. While referencing Shakespeare and the academic style, Konewka subverts the power structures embedded in those traditions. Consider the male gaze prevalent at the time: how does this portrayal of nude figures challenge those assumptions, or does it? Editor: It’s interesting that you say that. I hadn't thought about the male gaze in that sense. But how can unfinished equate to social commentary? Curator: Precisely! By not adhering to the polished perfection expected of academic art, Konewka implicitly questions those standards and values, revealing a space for different narratives about gender and power. Could this perhaps also question ideals of masculine control in a rapidly changing social landscape? It demands we consider the unspoken assumptions embedded in artistic traditions. Editor: I get it, it's less about the perfect bodies themselves and more about questioning why those kinds of perfect bodies were so prized in art. It almost feels feminist in a way, although before its time. Curator: Indeed! By questioning established norms through form and subject, artists can engage in powerful social critique. Even in seemingly innocent depictions like this one. It really asks what wasn’t shown and who wasn’t represented and why not! Editor: Thanks for helping me look beyond the surface. Curator: Absolutely, it is our role to interpret the intentions and social climate of a work to really explore it and hopefully help unlock its meaning to a wider audience.