The Spearman 1928

Curator: Here we have Ivan Mestrovic’s *The Spearman*, a powerful bronze sculpture created in 1928. Editor: Wow. Just…wow. There's a raw, untamed energy radiating from this. It’s bold, maybe even a bit unnerving, like staring into the soul of defiance itself. Curator: Mestrovic, as you know, often worked on themes of national identity and heroism, especially pertinent in the interwar period of Yugoslavia. Editor: You know, what strikes me is the lack of any actual spear! It’s interesting that this central figure doesn't appear armed, instead he has his arms to the side. It almost feels like a conscious choice. And riding the horse naked...I get it’s about power, but it's quite exposed. Is he inviting attack, or just unconcerned with that possiblity? Curator: Interesting point! Well, Mestrovic created it when there was an increasing emphasis on national identity and strength, in the public arena and the role of the idealized, heroic individual. Remember also the rise of Fascism in Europe, and perhaps an allusion to such things... Editor: You are probably right to assume it. It seems though the nakedness is a celebration of raw physical strength and natural connection to land through his horse.. a romantic, bold embrace. In today's world there is less admiration for that. We are more fragile somehow. Curator: Yes, I do believe Mestrovic was aiming to instill pride, particularly at a time of geopolitical instability and rising powers in that part of Europe. His work does elicit that pride and power. Editor: This piece certainly leaves a lasting impression. It speaks volumes about how we use images of figures from history for shaping identities, both in the past and here in the present moment. Curator: Exactly. When you look at this sculpture, and appreciate the history, and culture, you realize how powerfully it addresses what it means to be a community, what it means to rally together and build a society. It’s very telling.