Brilliantly 1894

Editor: This quirky ink and pen drawing, "Brilliantly" by Theodor Kittelsen, dated 1894, certainly makes an impression. The use of anthropomorphic snails in a gallery setting feels both whimsical and satirical. What is your take on this unusual piece? Curator: It is quite striking. Kittelsen’s work, and this piece in particular, benefits from an understanding of the cultural milieu in which it was produced. The late 19th century saw the rise of art criticism and the professionalization of the art world. Notice how the snails, resembling art critics or perhaps collectors, are positioned around a canvas, ostensibly judging the work. Editor: So you see it as a commentary on the art world itself? Curator: Precisely. The symbolism is ripe for exploration. Are the snails meant to represent the slow pace of artistic innovation? The sometimes slimy, perhaps dubious nature of art criticism? Consider the artist, rendered as a frog; seemingly out of place, or maybe an emerging leader among these slow, sluggish and slimey snails? Kittelsen had strong opinions about the direction of the art scene and he expressed them vividly, did he not? Editor: Definitely. The positioning of the frog as some sort of revolutionary artist challenging the snails in suits. Almost an intentional separation between artist and critic. Curator: It pushes you to consider the public perception of art and artists. Where were works such as these consumed and by whom? Editor: It seems that Kittelsen really wanted to disrupt and challenge the status quo in the 1894 art world with this satirical drawing. I hadn't considered the social implications so much. Curator: Exactly! Examining the socio-political influences unlocks a deeper understanding of even the most fantastical artwork.