Study for ‘The Judgement of Paris’ c. 1933

Curator: This is William Roberts' "Study for 'The Judgement of Paris'", part of the Tate Collection. It's a pencil drawing providing a fascinating glimpse into the artist's process. Editor: My first impression is the figures feel trapped by that stark grid. It's unsettling, almost like a prison. Curator: That grid is key. Roberts uses it to impose order, reflecting the socio-political anxieties around class and control prevalent in post-war Britain. Editor: Do you think that the female body is being displayed for this judgement to happen? Curator: Absolutely! This work certainly invites questions about the male gaze and the historical objectification of women within art and society. What kind of power dynamics are present here? Editor: It's a complex piece, far from a simple mythological scene. Curator: Indeed. Roberts pushes us to consider how historical narratives intersect with contemporary issues of power, gender, and social structures. Editor: A powerful commentary that makes you think.