Helen’s Tears 1905

Curator: Today, we’re examining “Helen’s Tears,” a compelling drawing rendered in pencil and watercolour by Edward Burne-Jones in 1905. Editor: My first thought? Intense. It's drenched in a sorrow you can almost taste. The colors are muted, yet the feeling screams off the canvas, or paper in this case, with a burning vengeance. Curator: Absolutely. Burne-Jones situates Helen against the backdrop of a burning city, invoking the potent image of the Trojan War. We might consider the patriarchal structures at play, assigning blame for conflict and devastation to a single female figure, conveniently erasing male ambition and warmongering. Editor: That makes her look really…lonely, isolated behind that castle-like wall. The colors, the smoky hues—they all say "guilt" but the soft lines on her face, those whisper sadness rather than evil. And look, you can even spot coloured pencil highlights on her gown that make her almost glow amidst the burning Troy depicted behind. Curator: Exactly, let's consider how the artist uses the figure of Helen not to condemn her, but rather as a focal point to explore themes of female agency—or rather, the lack thereof—within classical narratives. And those fiery colors around the subject bring forth that historical drama. Editor: What's striking is how relevant it remains. Replace 'Helen' with any woman in power today facing scapegoating, and you've got a mirror reflecting contemporary battles with ancient roots. Curator: Precisely. It pushes us to consider the ongoing narratives of female culpability versus systemic accountability, challenging us to look beyond the surface of blame. Editor: And I guess that makes this one tear truly epic, a symbol for a world wrestling with its own injustices then and today. Powerful, poignant stuff from Mr. Burne-Jones here! Curator: Indeed, “Helen’s Tears” urges us to reflect on history, gendered narratives, and the burdens placed upon women across time. It bridges historical context with today's sociocultural conversations.