Santa (One of Eight Virgins) Side View c. 1937

Editor: This is Majel G. Claflin's "Santa (One of Eight Virgins) Side View," circa 1937. It's a drawing done with coloured pencil, and it’s striking, the figure’s averted gaze, her hands clasped tightly… How do you interpret this work? Curator: This piece resonates with several complex dialogues, doesn't it? Claflin's choice to depict the subject nude from the waist up while explicitly titling it “Santa (One of Eight Virgins)” creates a tension between religious purity and the sexualised female form. Given its creation around 1937, we might see this as a subversive comment on the social constraints and expectations placed upon women, particularly within religious contexts. What are your thoughts on the composition? Editor: The sharp lines of her skirt almost act as a cage… but also seem to lift her up. Is there an element of defiance in that tension? Curator: Precisely. There's a certain vulnerability, but also a deliberate choice in representation. The ‘virgin’ figure is disrobed for the viewer, yet she looks away, retaining her agency. This challenges the male gaze and offers a perspective that speaks to the internal experience of being a woman, objectified yet striving for autonomy. How does that tension strike you? Editor: It makes me reconsider the power dynamics inherent in portraiture itself, and how easily the subject can be disempowered. The way Claflin uses, or rather, *doesn't* use conventional artistic approaches gives it a lot of weight, in the tension that results from the overall composition. Curator: Exactly. Claflin is actively resisting and reframing established notions of femininity. This piece isn't just a drawing; it's a statement about societal expectations, power, and female identity. Editor: Seeing it that way gives a fresh perspective, disrupting any singular reading. Curator: It opens up many exciting points for further investigation!