Lying cat 

Curator: This work, held here at the Städel Museum, is called "Lying Cat" and it’s attributed to Friedrich Wilhelm Hirt. It appears to be rendered in pencil and perhaps chalk, but more technical research would be needed to confirm the exact medium used. Editor: It strikes me as so understated, even vulnerable. It’s a delicate drawing, a kind of quick study. The cat seems a little anxious, doesn't it? Ears perked, a wary look in its eyes. Curator: Yes, I think it is a snapshot of an animal in a moment of self-possession. In its time, this drawing functioned not merely as art, but it was entwined within broader discourses regarding naturalism and the domestic sphere. Think of how homes, even menageries, would bring art and nature together in ways we wouldn’t today. Editor: I understand. But it also begs the question: who was this cat? Was it a pampered pet, an essential mouser, or perhaps a stray the artist pitied? Its representation can reflect both our individual experiences, and the cultural constructions around animal domestication at the time. Curator: Exactly. Moreover, we need to understand it within a society grappling with rapid urbanisation and industrial change, to understand how society conceptualized both nature, and itself. It makes me think about the historical representation of women, often depicted in similarly domestic settings, inviting an interesting gendered reading. Editor: Yes, the artist places us, the viewers, in a position of power – looking down at this smaller creature, reinforcing hierarchical relationships. What this sketch illuminates about animal studies as it was evolving during its moment—well, I can now feel that it’s rather profound. Curator: Absolutely. These pieces allow us to revisit evolving perceptions around our interconnected existence with nature, while inviting crucial dialog, bridging history with relevant issues now. Editor: Precisely. Who knew a small drawing of a cat could tell such an insightful story?