Apollo and Daphne 17th-18th century

Curator: Robert van Auden-Aerd's "Apollo and Daphne," held at the Harvard Art Museums, presents a captivating scene. What strikes you most upon seeing it? Editor: The composition feels staged, almost like a tableau vivant. The figures, while classical, seem consciously posed. It sparks a sense of artifice for me. Curator: Considering its probable function as a reproductive print, the focus shifts to Auden-Aerd’s craft. How he translates the source material through etching tools and techniques speaks to his skill. Editor: I see echoes of power dynamics inherent in the myth—Apollo's pursuit and Daphne's forced transformation. The male gaze is unmistakable, shaping how we perceive Daphne's agency. Curator: Absolutely. And by examining the economic motivations behind printmaking, we can also see the social stratification mirrored by the consumption of these images. Editor: It makes me wonder how contemporary artists might reclaim this narrative, challenging its patriarchal undertones and offering alternative interpretations. Curator: A print like this demonstrates that the circulation of images, then and now, is never politically neutral. Editor: Exactly. It's a stark reminder that art exists within, and often reinforces, existing power structures.