Deux femmes nues assises 1886 - 1889

Editor: Right now, we’re looking at “Deux femmes nues assises,” which translates to “Two Seated Nude Women” by Pierre Puvis de Chavannes, made sometime between 1886 and 1889 using pencil and charcoal. There’s an ethereal quality to it; the figures almost seem to be emerging from the paper itself. What’s your take on this work? Curator: What strikes me is how this drawing engages with the evolving role of the female nude in late 19th-century academic art. This was a period when traditional Salon painting was facing challenges from avant-garde movements. Do you notice the idealized, almost classical, figures? Editor: Yes, they're definitely reminiscent of classical sculptures. Curator: Exactly. Puvis de Chavannes, while respected, navigated a space between traditionalism and modernity. He often incorporated classical motifs but used them to evoke a sense of timelessness rather than specific historical narratives. Think about how this contrasts with the gritty realism we see emerging elsewhere in French art at the time. What do you think this says about the intended audience for this piece? Editor: That's a great question. Perhaps it's targeted towards an audience that appreciates idealized beauty and tradition. It feels less like a scandalous nude and more like an academic study. Curator: Precisely. The very act of displaying such a piece in a salon, or a later museum context, becomes a statement itself – a reaffirmation of certain values amidst artistic and social change. Note how it encourages a contemplative rather than a lascivious gaze. Editor: That makes so much sense. I didn’t really consider the public’s reaction and how much the artwork plays into it! Thanks. Curator: It’s all about seeing how art shapes and is shaped by the conversations happening around it. There's always more to discover beyond the aesthetic qualities.