Pygmalion (Study) Sir Edward Burne-Jones (1833-1898)

The drawing presents a study focused on the interaction between two figures: one standing and seemingly observing another lying prone. The composition is vertically oriented, emphasizing the differing postures and implied relationship between them.
Here we see a female figure rendered with delicate lines, her body elongated and possessing a certain fragility. Her gaze is directed downwards towards the recumbent form, suggesting contemplation or perhaps an act of creation. The artist has captured a sense of vulnerability in her posture; she appears both attentive and hesitant. The rendering of her hair, flowing loosely around her shoulders, contributes to this impression of gentle movement and emotional openness.
The second figure lies on what seems to be a simple surface, its form largely indistinct. It is depicted as incomplete, almost rudimentary – a suggestion of potential rather than realized existence. The lines defining the body are tentative, lacking the precision applied to the standing figure. This lack of definition implies an unfinished state, hinting at a process of becoming or creation.
The drawing’s monochromatic palette and sketchy execution contribute to its study-like quality. It is not intended as a finished work but rather as an exploration of form and gesture. The artist seems preoccupied with capturing the essence of a moment – a pivotal interaction between creator and creation, observer and observed.
Subtly, the drawing explores themes of artistic genesis and the power of observation. The standing figure embodies the act of creation, while the prone one represents the potential for life or beauty brought into being through that creative impulse. There is an underlying tension present; a sense of longing or perhaps even apprehension in the gaze of the standing figure as she contemplates the form before her. It suggests not only the joy of creation but also the responsibility and uncertainty inherent within it.