Drawing for ‘The Return of Ulysses’ 1913

Curator: William Roberts, born in 1895, presents in this drawing, now held at the Tate, an unrealized study for his painting, 'The Return of Ulysses'. Editor: It gives me the feeling of alienation—the figures are rendered in angular forms, like automatons, and the gray monochrome adds a layer of emotional detachment. Curator: The figures, in their stylized, almost robotic form, do evoke a sense of disconnect, perhaps reflecting the psychological aftermath of Ulysses' long absence and return. Note how these characters are nearly identical. Editor: Indeed. It's almost unsettling—the sameness in form, a repetition that strips away individuality. The stark shadows also create a disquieting spatial ambiguity. Curator: These shadows are cast by figures like archetypes, their interactions suggesting the complexities of homecoming, the shifting power dynamics, and the loss of innocence experienced by those awaiting his return. Editor: What I appreciate is the way Roberts uses line and form to convey such a complex emotional and intellectual landscape. The interplay between the figures and the space they occupy is brilliant. Curator: Absolutely, the drawing is a fascinating exploration of how myth can reflect very modern psychological states. Editor: A study in alienation conveyed through form. A powerful piece.