Prometheus Steals the Fire 1982

Curator: This drawing, about 55 by 76 centimeters, is Peter De Francia's "Prometheus Steals the Fire," part of the Tate collection. The raw, almost frantic line work immediately evokes struggle. Editor: The composition is compelling—the human figures are rendered with such angularity, it highlights a sense of brutal conflict between the figures. The owl in the top left, in contrast, appears watchful and knowing. Curator: Right, it's significant that De Francia employed charcoal on paper, a medium conducive to quick, expressive marks. It bypasses the constraints of traditional academic painting, aligning with a more immediate, socially engaged practice. Editor: The shackles are a powerful motif. Prometheus is not only stealing fire but also liberating humanity from the bondage of ignorance or oppression. Curator: Absolutely. The artist's rendering of the human form as almost grotesque serves to critique power structures, perhaps reflecting the social unrest of his time. Editor: It certainly makes you consider the ongoing relevance of the Prometheus myth—the eternal tension between progress and punishment, knowledge and its consequences. Curator: It makes me consider the labor conditions in which De Francia made his work. Editor: Indeed. A potent drawing that brings ancient myth to the present. Curator: The materiality and social context add further weight to the piece.