Apollo and Marsyas 1924

Editor: This is Harry Morley’s *Apollo and Marsyas*, currently in the Tate collection. The figures, reminiscent of classical sculptures, are arranged in a seemingly idyllic landscape. What do you see in this piece, considering its historical context? Curator: I see an artist grappling with the legacy of classicism in a rapidly changing world. Consider the era – the early 20th century. How does Morley’s almost academic style engage with, or perhaps critique, the institutions that valorize such traditions? Is it a celebration or an elegy? Editor: That’s a great point. It’s not a straightforward revival, is it? There’s a certain stillness, an ambiguity… Curator: Precisely. And what role does the landscape play? It’s not just a backdrop; it seems almost to be commenting on the figures themselves. Do you think it evokes a sense of longing for a lost past? Editor: I think so. It's definitely given me a new perspective on how artists use classical themes to speak to contemporary issues. Curator: Indeed, and that’s where the real power of art lies. It invites us to continuously re-evaluate our relationship with history and culture.