The Apotheosis of Bavaria, study 

Curator: I’m struck immediately by its ethereality; there's a beautiful, almost haunting quality to this sketch. Editor: What we're viewing is a preparatory drawing by Nikolaos Gyzis, titled "The Apotheosis of Bavaria, study." It appears to be a preliminary sketch using pencil and charcoal. Curator: "Apotheosis," so becoming divine, elevated...it explains that celestial quality. But divinity remains unseen in the form, enveloped in these magnificent swathes of fabric, which are delicately rendered. Editor: Exactly, Gyzis’s use of line, specifically, gives the fabric volume while keeping the piece airy. We might consider this in relation to the socio-political context of Bavaria at the time, its drive for identity and cultural authority manifested through the language of classicism. Curator: And what are your thoughts about this figure lacking a face? How does this affect our understanding of what Bavaria could be in this context? Editor: I think that facelessness could represent Bavaria as an evolving ideal, one still under construction in the late 19th century. She exists beyond the constraints of individuality, becoming a vessel to contain the projections of the Bavarian cultural imaginary. I can’t help but see how such symbolism easily lends itself to appropriation… how might ideas like the ‘divine right’ of nationhood persist today in coded language? Curator: An interesting and urgent perspective to take, given the enduring legacies of nationalism. This initial study would later become part of a much grander, more overtly propagandistic celebration of Bavarian royalty and power. Knowing that throws its subdued, almost dreamlike, initial mood into stark contrast. Editor: And, perhaps, underscores the importance of critically interrogating even the most seemingly benign of images. Thank you for sharing, it has offered a fresh outlook to me! Curator: A delight as always, bringing attention to historical context makes for an invaluable and thoughtful experience!