Johannes der Täufer vor Herodes Antipas und Herodias (_) oder Christus vor Pilatus (_) 

Editor: Here we have Victor Müller’s drawing, “Johannes der Täufer vor Herodes Antipas und Herodias or Christus vor Pilatus,” rendered in pencil on paper. The composition feels so raw, almost unfinished. What stands out to you in this piece? Curator: The rawness, as you call it, is precisely what draws me in. It lays bare the power dynamics at play. Look at the body language: John, or perhaps Christ, hands bound, versus the imposing figures of Herod and Herodias. What power do you think this conveys about those dynamics in a moment of persecution? Editor: It’s definitely communicating the helplessness of the accused in opposition to those in power. The unfinished lines add a layer of vulnerability. How do you think Müller's historical context influences this depiction? Curator: The 19th century was a time of immense social upheaval and questioning of authority. Religious and political narratives were constantly being re-evaluated through contemporary lenses. Do you notice that Herod and Herodias are physically connected by drapery as though conspiring and acting as one? This piece invites us to consider how historical events are used to perpetuate power imbalances, even today. What does it suggest to you? Editor: It makes me think about how these Biblical stories of injustice unfortunately still resonate. Maybe Müller is trying to comment on those timeless abuses of power? Curator: Exactly. Art allows us to engage with the past, but it also forces us to confront the uncomfortable truths of our present. Editor: I see it now. The drawing, in its simplicity, is making a powerful statement about the cyclical nature of oppression. Curator: And perhaps a call to break that cycle. It's a conversation, not just an observation. Editor: I’ll definitely consider how art can make those power dynamics visible, thank you.