Susanna 1869

Curator: Looking at this photograph of Giovanni Battista Lombardi's "Susanna" from 1869, currently held at the Metropolitan Museum of Art, I’m struck by how effectively the marble captures a sense of vulnerability. Editor: The composition immediately strikes me as being rather tense, wouldn't you agree? The way she's twisting away, averting her gaze... it reads as an embodiment of being scrutinized, maybe even judged by a society with impossible expectations. Curator: Yes, her pose and averted gaze certainly hint at discomfort. Her hand is raised to her chest, which speaks to both modesty, or potentially an instinct for self-protection that aligns with classical notions of modesty as well as a deep seated survival tactic given societal constrants. This statue immediately draws one back to similar poses, reminiscent of many earlier, now canonical, representations of nymphs in statuary or paintings, but especially echoes of Psyche in neoclassicism. Editor: The biblical narrative behind Susanna undoubtedly plays a part. A woman unjustly accused, subjected to the male gaze, is very apparent here. The sculpture feels almost like an indictment of that power imbalance that permeates even the act of spectatorship, making me uncomfortable as a spectator. The marble is beautiful and clearly carved to perfection in this piece, but its beauty seems a dangerous tool, obscuring potentially a predatory intent, don't you think? Curator: I perceive the artist drawing upon well-established tropes in depictions of female virtue. The marble medium itself lends an aura of timelessness and permanence to the themes that are highlighted in Lombardi's works, thus bringing into focus the continuing struggle against societal demands on women to maintain an illusion of beauty and youth, as the marble itself maintains its physical beauty for centuries on end. But your focus brings to mind the way the marble can feel almost suffocating in its coldness and lack of dynamism. Editor: Exactly! By presenting her nude figure while emphasizing that she is seemingly guarding herself creates a juxtaposition that makes the onlooker ask what or who this Susanna is truly guarding herself from, as well as perhaps even wondering what one is trying to view with intent, when this view is meant for viewing something not to be seen. So where is the gaze directing us? How do we find ways as viewers to challenge such assumptions about ourselves and each other? This artwork speaks to this struggle. Curator: The psychological depth you've noted is quite significant. It highlights how art objects aren't neutral. Thank you for providing a window into these broader implications. Editor: Thank you. It’s through recognizing those layers that art history can continue to find its contemporary resonance.