Puck, in verschiedenen Haltungen sitzend, stehend und schwebend c. 1867 - 1868

Editor: We’re looking at Paul Konewka’s “Puck, in verschiedenen Haltungen sitzend, stehend und schwebend,” or “Puck in Various Sitting, Standing and Floating Poses,” made around 1867 to 1868, using ink on paper. There's something so wonderfully spontaneous about these sketches of Puck; they feel like a glimpse into the artist's imagination, but how do you read this artwork? Curator: Ah, Puck! This piece is just lovely, isn't it? I see Konewka not just drawing, but *dancing* with the character. It’s like he’s trying to catch the very essence of Puck’s mischievous spirit. There's a delightful freedom in his line work. What do you make of the repeated poses, all crowded onto one page? Editor: I think that putting them together shows all sides of Puck and that these images are not precious. They just exist and flow together. It doesn't have that rigid sense of perfection you see in a more academic drawing. I wonder, did audiences at the time view sketching differently than finished work? Curator: That's a keen question. Sketches weren't always prized as stand-alone artworks back then; they were more often seen as preparatory. However, I think this one reveals the magic in the making, don’t you think? It allows us to witness the artist grappling with form and movement in real time. Imagine seeing the world with that kind of whimsical vision, it reminds me of childhood, making friends with fairies under trees. Editor: That's lovely. Looking at it that way does open up a whole new layer of appreciation. It feels so much more intimate now, seeing it as a playful, fleeting moment captured. Curator: Precisely! And maybe that's the real enchantment here – Konewka inviting us to play along, too, into a hidden little fairytale right here in this very spot! Editor: Thanks for sharing this; it adds to the way I’ll think about artworks. Curator: You are welcome. Art is more like a verb.