Liegende Ziege nach rechts, rückansichtig 

Editor: This ink drawing, “Liegende Ziege nach rechts, rückansichtig,” or "Lying Goat facing right, seen from the back," is by Friedrich Wilhelm Hirt and held in the Städel Museum. The level of detail feels surprising for a study; what do you see here, in terms of its cultural context? Curator: Well, consider how representations of animals shifted over time. In earlier periods, they often symbolized broader allegorical or religious concepts. By Hirt's time, though without a specific date on this, there's an increasing interest in realism, fueled by scientific observation. The very existence of museum collections shaped the creation of studies like this; academic collections fostered objective studies. What function might this detailed representation serve in that kind of institutional environment? Editor: I suppose it could be used as a reference, a model for other works, maybe even something for students to learn from? Was there also, perhaps, a growing interest in rural life at the time? Curator: Exactly! The emerging romanticism of the era celebrated the pastoral, the 'natural' world as a counterpoint to industrializing society. Even something as simple as depicting a goat became infused with these social anxieties and yearnings. The value placed on untouched wilderness reflects an ideological desire that is as manufactured as it is 'natural'. Editor: So, it’s not *just* a goat – it’s a statement. Curator: Precisely. The drawing, exhibited and studied, contributes to broader dialogues around nature, society, and artistic practice, doesn't it? Museums create meaning by placing objects into conversation. Editor: That's a really helpful perspective. I was just seeing a drawing of a goat, but you’ve highlighted its potential to signify something much bigger. Curator: Glad to broaden the view. Understanding how institutions influence our interpretations helps unlock so much within art history.