Study of two women to the painting ‘Entombment’ 1850

Curator: Let's explore this preparatory drawing by Józef Simmler, dating back to 1850, titled 'Study of two women to the painting \u2018Entombment\u2019'. Editor: Instantly, I’m struck by its quiet sadness, that slightly haunting quality. The subtle shading with just pencil on paper conjures a very specific mood... it's like witnessing a fleeting memory. Curator: It's intriguing to consider these figures not just as aesthetic forms, but as embodiments of grief within the patriarchal structures of the time. The final painting of the entombment centers on the body of Christ but here, in the study, the attention to the women’s mourning offers an alternative perspective. Editor: Right! It almost feels more raw and vulnerable. Like you're seeing the immediate aftermath of a terrible event through their eyes, even though it is preparatory work. You know, that academic art style often seems so… lofty. But here, there’s something very human. It’s funny, you know, sketches often hold more… emotion, in some ways, than a fully realized composition. Curator: Precisely. Simmler's academic training is evident, yet he captures a profound sense of intimate sorrow in their posture and delicate rendering. It also makes me consider, too, that maybe the act of study enabled a space where emotions less validated within official history can emerge. How does a male artist in 1850 grapple with the role of women at a historical turning point? Editor: The Romanticism in this portrait allows for that intimate access to the inner lives of these women. This preliminary sketch makes you ask more of the artist than a full-scale history painting ever could. In that way, this almost has more power than the 'Entombment' itself. I keep thinking, "what were they feeling?" And, in the end, art's job is done. Curator: It is quite poignant how the sketch reveals so much about historical constructions of gender, mourning and representation. These women, usually seen only as figures of sorrow, here take center stage. Editor: It lingers. It truly lingers, and for a sketch to leave such a mark, there’s undeniable talent. Curator: Indeed, a testament to the evocative power of suggestion.