Seated Figure 1919 - 1920

Editor: This is Max Weber’s “Seated Figure,” a print made around 1919 or 1920. The figure is composed of sharp, geometric shapes. I’m immediately drawn to the angularity of the lines, which almost makes the figure seem imposing, yet strangely serene. How do you interpret this work in its historical context? Curator: Considering Weber's piece in its time, especially during the period after World War I, the sharp angles and geometric shapes are revealing. Weber was deeply influenced by European modernism and brought those ideas to the U.S. Do you see how the abstraction moves away from traditional portraiture? Editor: Absolutely. It's a distinct shift away from realism, yet it’s not quite Cubist either. I'm curious, what drove this urge toward abstraction at the time? Curator: After the devastation of the war, artists questioned existing structures, including artistic ones. This urge was partly about rejecting what was and seeking new ways to represent the world. This print acts as an assertion of new cultural values. Did Weber’s embrace of European modernism impact his reception in the United States? Editor: I would guess it must have. A departure from familiar artistic conventions always challenges existing social mores. What do you find most striking about this particular piece in light of those tensions? Curator: It's the figure’s immobility, isn’t it? Despite the dynamism suggested by the lines, the figure is undeniably static, contained within that almost architectural form. It mirrors a tension between embracing new possibilities and a desire for stability, reflecting post-war sentiments. Editor: That's fascinating! It makes you wonder if he was reflecting society's conflicting desires through abstraction and figuration. Curator: Exactly. Considering its place in art history offers insights into societal dynamics of the time. A worthwhile contemplation.