Stående kvinde, benene delvis dækket af draperi 1919 - 1922

Editor: We're looking at "Standing Woman, legs partially covered by drapery," a bronze sculpture made by Aristide Maillol between 1919 and 1922. I’m immediately struck by its classical form, yet it also feels very grounded, almost modern. What aspects of this piece stand out to you? Curator: It's fascinating how Maillol appropriates classical forms to convey early 20th-century ideals. This sculpture was created during a period of immense social and political upheaval after World War I. How do you think Maillol engages with the public through this seemingly simple female form? Editor: It’s interesting you ask that. I hadn’t really thought about the political element. I suppose her groundedness and idealized form could be interpreted as a desire for stability and a return to traditional values in the aftermath of such a chaotic period. Curator: Exactly! The politics of imagery are powerful. This is not just about the nude form; it is also about using classical tropes to project a sense of continuity and resilience in a society that was rapidly changing. The sculpture almost insists on the timelessness and enduring beauty of the human form against the backdrop of a war-torn world. Note also how it was displayed; where in the museum and at what level in the galleries. Do you see any possible connection to the larger historical narrative about modernity? Editor: I see your point. Her stoicism feels deliberate. Knowing the socio-political context really changes how I perceive it. It’s not just a nude, but a statement. Thanks for highlighting that! Curator: And thank you. I also walked away seeing a familiar form in a fresh light, with emphasis on context and public message, instead of a simple aesthetic study.