Two Figures 

Editor: We're looking at Eugène Delacroix's "Two Figures," a charcoal drawing housed here at the Brooklyn Museum. It's… striking, isn't it? Very dramatic use of light and shadow. What do you see in this piece? Curator: Well, it certainly speaks to the Romantic era’s preoccupation with emotion and drama. I see a tension, not just in the visual composition, but in the possible power dynamics represented. The embracing figures—do we know their identities? The active and the passive? Editor: I don't have specifics on who the figures are meant to be, just that it's, well, "Two Figures". Curator: Right. So, consider this: How might this drawing reflect broader social attitudes about gender and power prevalent during Delacroix's time? It might allude to societal expectations of female subservience. Delacroix would've certainly seen iterations of gendered interactions throughout his lifetime, which could reflect his worldview on a societal, political and intimate scale. Editor: That's fascinating! I hadn't really considered the power dynamic that way. I was mostly just seeing the emotion. Curator: The emotionality is key, but let’s think critically. Who gets to express emotion, and under what circumstances? How does Delacroix’s portrayal either challenge or reinforce those norms? Can you identify a potential relationship between identity, emotion, and artistic expression here? Editor: So, thinking about Delacroix as both an artist of his time, and how that era influences what is depicted here is one lens... Thank you! I learned a lot about approaching art with intention and broader social factors. Curator: Exactly. Considering the work's position within the artist's oeuvre, his broader historical context, and applying intersectional reading has the potential to unlock so much!