The Train of Maris (Le train de Maris) 

Editor: This drawing, “The Train of Maris” by Felicien Rops, is incredibly subtle, almost dreamlike, with these delicate pencil lines that barely define the figures. There’s this air of intimacy, and yet the composition feels… unsettling. What do you make of it? Curator: It’s unsettling, precisely because it aims to be. Rops was operating in a society grappling with rapid industrialization and shifting social mores. These erotic themes, rendered so delicately, become a critique of the bourgeois ideals of marriage and morality. Consider the title – "train" suggesting progress, juxtaposed with the artist's symbolic portrayal of love. Who is benefiting from this societal “progress?” Editor: So, it’s less about the romantic idea of love and more about societal commentary? How do you see the role of institutions here, given the piece is likely displayed in a museum context now? Curator: Museums often sanitize or tame transgressive art. Think about the history of displaying erotic art - it was often hidden away in private collections before slowly making its way into public view, often framed as historical curiosities. Today, institutions face the challenge of acknowledging both the artistic merit and the potentially problematic content, forcing us to confront historical power dynamics. Does this piece now endorse those power dynamics simply by being presented neutrally on a wall? Editor: That’s a really interesting point, something to keep in mind in how we discuss and display these works. Thank you! Curator: My pleasure. Hopefully this work sparks many more critical conversations.