Daphnis achtervolgt Chloë 1937

Curator: Aristide Maillol created this work, titled "Daphnis achtervolgt Chloë," in 1937. It’s currently held here at the Rijksmuseum. We believe it’s an ink on paper print. Editor: Wow, what strikes me first is its energy. The figures, outlined in bold ink, are caught in this perpetual motion of pursuit. You can almost feel the wind in their hair! Curator: It’s interesting that you highlight the feeling of motion. Viewing this piece through a feminist lens, one might ask what that pursuit signifies in the broader narratives of gender and power. How do we interpret this chase given historical and societal dynamics of the male gaze and female agency? Editor: That's a really important point. It makes you think, doesn't it? But looking at it, the artist is using a limited number of lines but still conveying such strength and softness. It reminds me a little of dance, that push and pull of attraction or resistance. Maybe the wind in their hair is really just them trying to catch each other, you know? Curator: Considering that it depicts a scene with Daphnis and Chloe—two figures from Greek pastoral romance—that “dance” or push-and-pull analogy feels very insightful. The work then prompts discussions about the romanticization of power imbalances throughout history. Does it echo the original narrative, or does Maillol’s particular artistic interpretation offer some nuanced reading? Editor: I get it. We can question, like, who is writing the story, right? But even with those heavier thoughts, this image kinda lets you drift away. It is about storytelling after all. A snapshot of longing. Curator: I concur. The work’s strength lies in its capability to spark conversations—intersecting aesthetics with ethics and individual interpretations within larger sociocultural landscapes. Editor: So well put! And for me, it’s a simple image of folks trying to get close in nature; reminds me to do the same sometimes!