The Rape of a Sabine Woman Seen from the Back, Her Face Visible c. 1598

Curator: Muller's "The Rape of a Sabine Woman Seen from the Back, Her Face Visible" is quite a dramatic image. Editor: Indeed. The muscularity is so emphasized—it almost feels grotesque, overwhelming the subject matter itself. Curator: Consider how the artist uses the female figure as a compositional pivot, her averted face drawing the viewer’s eye. The Harvard Art Museums houses this striking print, and its existence speaks to the enduring fascination with classical narratives throughout history. Editor: I'm struck by the density of the lines. The engraving technique certainly heightens the sense of struggle and barely contained chaos. Curator: The historical context—the construction of Roman identity—is inextricably linked to acts of violence and appropriation. Editor: I see it. The work invites a powerful, if unsettling, formal analysis of force and vulnerability. Curator: The print serves as a stark reminder of how power dynamics have been visually encoded and perpetuated. Editor: It's clear that the work's unsettling aesthetic elements serve to mirror the violent subject matter.