Viola Surviving the Shipwreck off the Coast of Illyria, from “Twelfth Night” c. 1776

Curator: At first glance, it feels like a half-remembered dream, doesn’t it? All churning waves and bodies emerging from the depths. Editor: Precisely. The scene unfurls like a tempestuous stage, a blend of charcoal, chalk, and pencil on paper rendered circa 1776 by George Romney, now residing here at the Art Institute of Chicago. This drawing captures Viola Surviving the Shipwreck off the Coast of Illyria, straight from Shakespeare’s “Twelfth Night.” Curator: "If music be the food of love, play on," but also, if tragedy strikes, make sure your artist has a really good pencil. The scene is pure melodrama. There is the barely dressed damsel in distress, the obligatory muscled saviors, all fighting against a background of chaos. It's operatic. Editor: Indeed. Romney often mined literary sources, particularly Shakespeare, seeking dramatic narratives that resonated with the social and artistic currents of his time. These history paintings served a crucial public function, reflecting and shaping perceptions of national identity, morality, and aesthetic values. Curator: You know, thinking about the stage aspect… I see so many influences crashing together here. There’s definitely some Michelangelo, and echoes of theatrical stage design all vying for attention. Is this performative agony? A carefully constructed moment of distress? Editor: Undoubtedly. Consider the institutions supporting this work – aristocratic patronage, the Royal Academy – Romney positioned himself to cater to specific tastes and discourses, showcasing both technical skill and moral storytelling. Curator: I guess it speaks to this ongoing desire we have, to witness—at a safe distance—moments of profound human drama. The ship has wrecked but art endures. Editor: A drama meticulously staged for the ages, I suppose.