'Ulysses Having by Craft Discovered Achilles, under his Disguise of a Virgin' 1782

Curator: This etching by Gavriil Skorodumov, dating from 1782, is titled 'Ulysses Having by Craft Discovered Achilles, under his Disguise of a Virgin'. It presents a scene steeped in classical lore, part of the collection at the SMK. Editor: Right off the bat, there’s a strange, almost dreamlike quality to the piece, isn’t there? Everything rendered in this sepia tone gives the scene a delicate yet somewhat unsettling feel. Like a memory struggling to stay afloat. Curator: The artwork depicts a pivotal moment from the story of Achilles, specifically when Ulysses unmasks him. Thetis, his mother, had hidden him among the daughters of Lycomedes to prevent him from joining the Trojan War. It speaks to themes of fate, deception, and the societal expectations placed on heroes. Editor: I can feel the tension radiating from Achilles. He's caught between worlds, isn't he? There’s a spear in his hand yet surrounded by women. The composition subtly reveals his reluctance and innate warrior spirit clashing. The expressions all seem carefully choreographed to tease out this hidden drama. Curator: Precisely. Neoclassical art of this period often drew inspiration from ancient stories to convey moral or political messages. The image raises the question of duty versus personal choice. Is Achilles destined for greatness and the battlefield, regardless of his desires, or can he subvert this expectation? Editor: I think it plays into the eternal struggle we all have, really – wanting to forge your path against what’s expected. You feel this tug-of-war of desire and expectation even now, even when the attire has changed! And look at how vulnerable they’ve rendered Achilles; there’s beauty and power in this internal struggle. Curator: These prints were popular forms of disseminating classical stories among a wider audience. By depicting such scenes, artists offered visual interpretations of admired literature, making them more accessible to public imagination. Editor: Yes, because, as it were, sometimes seeing is believing, which creates lasting visual cultural literacy, wouldn't you say? It makes me ponder what it truly means to be seen and understood—or to hide your true nature in the theatre of public life. I'm not so sure they were so different back then! Curator: Indeed, reflecting on the image in these socio-political circumstances shows us the different, complex ways such classical pieces can address us now. Editor: Agreed; it's pretty special to be faced with this intersection of then and now within one etching!