Statue of Flora seen from the Front, in the Palazzo Giustiniani, Rome 

Editor: This is Jacques Louis David's pencil sketch of the Statue of Flora in the Palazzo Giustiniani in Rome. The soft rendering of the fabric makes the statue look so gentle and life-like. How do you interpret this work within David's broader artistic practice? Curator: For David, drawing classical statues wasn't merely academic. It was a revolutionary act. Neoclassicism became intertwined with the political ferment in France. Think about it: why was there a turn towards Greek and Roman art during the Enlightenment and French Revolution? Editor: I suppose as a way of idealizing a Republican society... Curator: Exactly! The focus on austere virtue and civic duty found its visual language in the classical world. But let’s also consider this depiction of Flora, the Roman goddess of flowers and springtime. Flora, in this context, is not just about beauty but embodies themes of renewal, fertility, and, crucially, liberty. Editor: So, seeing it now, David might have been less interested in capturing the statue's literal likeness, and more so as a stand-in for the ideals of freedom... Curator: Precisely. Ask yourself: who had access to concepts such as freedom? And whose liberty did David and the revolutionaries actually champion? The sketch reveals an ideal; it asks us to critique who benefits from this ideal and what power structures are maintained within that context. Editor: This piece certainly brings up so many questions that echo today. I'll never look at Neoclassical art the same way again. Curator: I hope it helps to remember that we can engage with the aesthetic value of art and explore these deeper political and social issues.