The Drunkeness Of Noah 

Curator: This pencil drawing, held in a private collection, is titled “The Drunkeness Of Noah” by Jean-François Millet. It's quite evocative. Editor: My first impression? It’s unfinished, gestural… more like a preliminary sketch than a final statement. There’s a rawness, a sense of process here that is quite compelling. You can see the artist working through the composition. Curator: Absolutely. Millet often created numerous studies before embarking on his larger paintings. Think about the price and availability of art materials like canvas versus paper, especially for a draughtsman such as Millet. I wonder how this exploration ties into representations of morality. Editor: That's an interesting point. How did these images of vice shape social behavior, or comment on societal anxieties about order, patriarchy, and sin? We are seeing the impact and meaning-making of a bible story. And where might it have been shown? To whom? Curator: It’s fascinating to consider this within the broader context of history painting at that time, in particular its moral implications. The shame and exposure are laid bare, both literally and figuratively, through the artist's raw use of line. The labor put into this rough study indicates how significant its theme might have been. Editor: Yes, there’s a real vulnerability exposed in both the subject matter and the tentative nature of the lines, though more finished studies certainly exist. Curator: Agreed. This work highlights the intricate and complex social forces at play. Its incomplete quality allows us a peek into the creative process of a significant artist. Editor: For me, this raw sketch compels the viewer to consider the act of making art, challenging how we engage with art that’s not necessarily polished, or intended for direct consumption, so to speak.