Rape II (Raub II, Weib halb) 1911

Curator: Welcome. We’re looking at "Rape II (Raub II, Weib halb)" by Wilhelm Lehmbruck, created in 1911. It’s an etching. What are your first impressions? Editor: It's raw. The figures seem trapped in the copper plate itself. The lines are fragile but charged with an intensity that evokes anxiety. Curator: This is an Expressionist piece, so that tension you feel is very much intentional. The title, which translates to "Rape II, Half Woman", suggests a violation, not just physical, but also of the female form itself. Considering the time it was made, just before the outbreak of WWI, one can view this as a visual manifestation of broader societal anxieties and patriarchal power structures. Editor: That title is... confronting. Structurally though, the way the artist has used line—deliberately uneven, scratchy—amplifies that tension. It's as though the bodies are fragmented, almost disintegrating before our eyes. What does the Expressionist context bring to how the figures are formed? Curator: Lehmbruck was deeply concerned with the human condition in a rapidly changing world. The fragmented figures reflect this alienation, and the lack of clear definition blurs the power dynamics, making the interaction appear almost spectral, questioning notions of agency and victimhood within oppressive societal constraints. The gaze of the standing figure, though, offers some complexity. Is it accusation? Defiance? Editor: It’s a very powerful compositional choice. Her almost confrontational stare directly counters the apparent dominance of the other figure, creating that very ambiguity. Looking closely, I can also appreciate the sheer skill of the artist. The controlled use of line creates depth despite the seemingly unfinished quality. It's quite masterful. Curator: Absolutely. It speaks volumes about the artistic experimentation of the time and the attempt to challenge traditional representations. Editor: I'm leaving with a lingering sense of unease but also admiration for how the artist utilized formal elements to embody raw human emotions. Curator: And for me, it reinforces the need to interrogate how art reflects and shapes our understanding of social power and the vulnerability inherent within human interactions.