Hosannah!, from "Dalziels' Bible Gallery" 1863 - 1881

Curator: What an enigmatic engraving! "Hosannah!," created between 1863 and 1881 as part of “Dalziels' Bible Gallery” by Simeon Solomon. It’s a rather striking piece here at the Metropolitan Museum of Art. Editor: Striking, indeed. My initial impression is one of intense melancholy, almost palpable despite the titular cry of "Hosannah!". The composition feels closed-off, and the figure seems isolated even within this detailed setting. Curator: The intricate detail is quite something, isn't it? This was made into a print from a drawing. It invites reflection on the very process of image reproduction and dissemination during the late 19th century. The labour involved in translating Solomon’s artistic vision into a reproducible format… it’s easy to overlook, yet it profoundly shapes our access to the image. Editor: Absolutely. Considering Solomon’s background as a Jewish artist working within the Pre-Raphaelite circle in Victorian England is equally crucial. This piece seems steeped in themes of spiritual yearning, but the figure’s androgynous presentation opens questions about the fluidity of identity at a time when such expressions were heavily policed. How might we interpret the visual cues, given the repressive context of the period? Curator: Precisely! And note the harp. This isn't merely decorative; it speaks to a specific type of aesthetic production valued at the time—linking musicality and art as elevated trades. Think of the workshops dedicated to producing such art. The relationship between skill, labour, and cultural capital would be a significant question. Editor: I’d push further and examine the social underpinnings. The Dalziels' "Bible Gallery" project catered to a specific, largely Protestant, middle-class audience. What ideological narratives does Solomon subtly contest, or perhaps even reinforce, within this commission? Is it possible that the subtle hints toward non-normative sexuality would’ve been intelligible only to certain viewers? Curator: Fascinating points. The cultural work these prints performed, and the reception histories of the print. The sheer quantity of printed images circulating at this time should really change how we discuss individual artistry. Editor: Exactly. Considering the networks of power, knowledge, and spectatorship becomes vital, particularly as they intersect with faith, gender, and class. This engraving urges a conversation far beyond just its immediate aesthetic qualities. Curator: It offers an intriguing perspective from the margins of both Victorian society and artistic convention. Editor: And ultimately shows how art-making itself can act as a profound site of both resistance and negotiation.