Unidentified man in a red robe, costume sketch for King Richard II 

Curator: What a compelling piece! This is Edwin Austin Abbey’s costume sketch, “Unidentified man in a red robe, costume sketch for King Richard II”. It seems to be crafted with a combination of pencil and colored pencil, possibly with some watercolor as well, going by the look of the drawing. Editor: Yes, there’s something quite striking about the confident yet somber figure. The red robe against the pale gown creates a vivid contrast, evoking a sense of both power and vulnerability, don't you think? Curator: Indeed. The symbolism of red, historically linked with royalty and martyrdom, is certainly at play here, though whether it evokes power or sacrifice may well depend on the viewer's own expectations when it comes to costume design. Richard II was certainly a controversial figure and the choice of this striking red is very specific. Editor: I agree, red’s association with passion, drama, and even danger can't be ignored. Notice the almost floral arrangement of the turban, mimicking perhaps, a blood-red rose? The figure is literally crowned by this symbol, which might connect to specific plot elements regarding kingship. Curator: Interesting point about the floral turban—perhaps hinting at Richard II's perceived decadence and obsession with courtly pleasures. It could represent the artistic liberties Abbey might have taken, influenced by prevailing ideas regarding the king. It certainly positions the costume in relation to a political interpretation. Editor: And the gesture, the hand lightly resting on the hip – there is something performative about the pose. Could the artist be making an interesting visual parallel to suggest inner turmoil through external display? Curator: Certainly the actor, embodied here in this costume, needs to reflect Richard's famous moodiness, his volatility and his performance of kingship in the face of threats. This all has to come through. Editor: The costume design alone speaks volumes, reflecting the tragic arc of the play's themes and complex character of Richard II. It is incredible to consider the degree to which such care was put into these pieces. Curator: It truly makes you think about all the background preparation, thought and debate that shaped theatrical productions. It can't be separated from it, of course: that preparation *is* the production to a great degree. Editor: Exactly. Every visual element tells a story, preserving those early intentions from conception to eventual display on the stage. Curator: A reminder that art is so often linked to, and shaped by, political and social interpretations. Editor: And the symbols carry with them many layers. A vibrant interplay that enriches both the stage and our understanding of historical portrayals.