In the Park, from A Love (Opus X) 1850 - 1900

Curator: What we’re looking at now is a piece by Max Klinger called “In the Park, from A Love (Opus X).” He made it sometime between 1850 and 1900 using pencil. Editor: There's something almost ghostly about this drawing. The figures, locked in an embrace, feel so fragile, vulnerable. Is that a tree dominating the space, looming over them? Curator: That looming presence speaks to Klinger's fascination with Romanticism, doesn't it? This era really emphasizes heightened emotions and subjective experiences and how nature reflects that interiority. Editor: Exactly, I also find Klinger so interesting because his works allow us to deconstruct power dynamics within romantic narratives. I am particularly struck by the gaze of the standing man, the subject is more often seen as predatory rather than tender. How do you think this work confronts the expectations of masculinity? Curator: Well, I'm struck by how his stance, seems like it lacks complete control and the way that he bends over her. Considering his presence in the space. We should note, the historical reception of this piece, which sparked debate, with the theme being erotic-art, but this would give some an appreciation of the sensitivity of touch. Editor: Interesting. Is he in a position of power? Is she in danger? Maybe he loves her! It depends entirely on how you frame your view. I notice how Klinger almost invites viewers to insert themselves into this fraught romantic relationship. Is it tender, toxic, beautiful, or grotesque? I want to look at who benefits, I want to look at why it might disturb you. Curator: And that ambivalence really does seem central to Klinger’s oeuvre. We see it reflected not just in his choice of subject, but in the artistic trends during this era and throughout this composition: it’s simultaneously representational but also somewhat unfinished. Editor: Absolutely. I walk away questioning myself. That to me is the power of a politically conscious piece of artwork!