Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Kossoff's etching, "The Family of Darius before Alexander (2)," now in the Tate, presents a scene laden with historical and emotional weight. Editor: It strikes me first as a whirlwind of emotion, all caught in the frantic lines. Curator: Absolutely. The subject itself is ripe with symbolic resonance. The conquered family of Darius, humbled before Alexander, speaks to power, submission, and the complexities of human interaction amidst conquest. Editor: And the linear, almost frantic, marks amplify that tension. The figures seem caught in a moment of suspended animation. It really asks the question of how history remembers such encounters. Curator: Indeed. Kossoff, by returning to this subject, echoes centuries of artists grappling with similar themes of power and humanity. We see those concerns reflected through history. Editor: A poignant reminder of the cyclical nature of power, and how art shapes our collective memory.
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http://www.tate.org.uk/art/artworks/kossoff-the-family-of-darius-before-alexander-2-p11716
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This print is one of many etchings executed by Leon Kossoff in response to, and literally in the presence of, oil paintings by old masters; in this case The Family of Darius before Alexander, 1565-70, by Paulo Veronese (c.1528-1588), owned by the National Gallery, London. Tate owns three prints by Kossoff after this Veronese painting (Tate P11715-17). The artist’s ability to explore a number of separate responses while making drawings and prints from a single subject is illustrated in these etchings. This print was never published as an edition; Tate owns the second trial proof.