Titania, unbekleidet und mit hochgestecktem Haar, schwebend, nach links c. 1867 - 1868

Curator: This intriguing drawing by Paul Konewka, created around 1867-1868, is called "Titania, Unbekleidet und mit hochgestecktem Haar, schwebend, nach links," which translates to "Titania, Undressed and with Hair Up, Floating, to the Left." It’s currently held at the Städel Museum. What strikes you first about this ethereal figure? Editor: A sense of lightness. She appears to be gliding. It’s more ephemeral than substantial. Is that solely the medium at work? The pencil feels very light on the page, as though only a slight force held it to the paper. Curator: Precisely. The medium dictates much of its character. Konewka’s choice of pencil directly informs that weightlessness, along with its unfinished, sketch-like qualities. One should note the curious, almost utilitarian nature of the support–evident by the blots–seems almost at odds with the subject, Titania. It is in these unexpected confluences of seemingly disparate means and aspirations that artists such as Konewka tested the presumed aesthetic standards of his era. Editor: That juxtaposition is fascinating! Looking closer, I’m drawn to the strategic use of line. It appears delicate, almost tentative, yet it successfully captures the contours of her form. Curator: It is through that confident and yet simple linework that Konewka subtly nodded to romanticism, especially as it pertained to representations of the nude figure and to folklore or fantastical topics in the art world. I should ask though, what about this is Titania to you? Is this just some random female figure sketched from life in his studio? Editor: That’s precisely my curiosity. The title bestows her with identity, but without it, we’re simply left with a nude woman floating. The lack of an obvious narrative raises interesting questions about representation and the male gaze. Is Konewka simply using Titania as a pretext? Is she presented in a specific manner so as to be more consumable? It becomes another representation in an economy of images. Curator: A compelling perspective! The title itself and its availability to the public also shapes its reception. Editor: It's all interwoven, isn't it? Seeing how context and process affect our understanding truly changes how one interacts with a work of art like this. Curator: Absolutely. It's a valuable lesson in examining art from different perspectives to achieve a richer appreciation for the work, and to know where it all originates.