Blank page; verso: Head of Brutus, after Michelangelo c. 1884 - 1889

Curator: Looking at John Singer Sargent’s "Blank page; verso: Head of Brutus, after Michelangelo," a small graphite sketch housed at the Harvard Art Museums, I'm immediately struck by its quiet intensity. Editor: It feels so immediate, raw. Like a fleeting thought captured on paper. You can almost feel the artist’s hand moving across the page. Was this some kind of study, a preparatory sketch perhaps? What’s the social context here? Curator: Likely a personal exercise, given its size and material. Sargent's study after Michelangelo’s Brutus explores the dynamic between emulation and personal expression. It reflects the academic traditions that underpin even the most seemingly spontaneous sketches. Editor: I see. It's interesting how even in a quick sketch, Sargent’s mastery shines through. It feels almost like he's channeling the spirit of Michelangelo himself. A conversation across centuries in graphite. I'm drawn in by the cross hatching on the neck that looks almost like a blade. Curator: Absolutely, and considering the historical context of Brutus—the assassin of Julius Caesar—it adds a layer of intrigue. Editor: Exactly! So much implied violence in such delicate lines! Okay, I’m going to have to contemplate this for a while… Curator: Agreed, it’s a humble reminder of art's ability to transcend time and material.