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Anselm Kiefer, 'Myrtis', 2002

 


A collection of monolithic, monochromatic and freestanding dresses construct Anselm Kiefer's Women of Antiquity series, begun at the turn of the twenty-first century and revitalised by the artist in 2018. Exhibited most notably in his so-called 'studio' La Ribaute, these luxuriously tactile gowns have subsequently travelled across both exhibition venues and the art market. Mytris, who is weighed down by the book which constructs the head of the figure, is one such example.

Kiefer, today, is one of the most talked about artists. A slow rise to fame has now blossomed into exhibitions that have drawn on literary references (Finnegan's Wake at the White Cube in 2023), expositions detailing his earlier working life (at the Ashmolean in early 2025), or his connections to canonical artists (Van Gogh/Kiefer at the RA which recently concluded). His colossal canvases suck a viewer in, his colours are captivating, as the artist draws on themes of violence, spiritualism, desolation and human nature, ideas which clearly resonate with a modern day audience. However, the Women of Antiquity series is less typical of Kiefer - these are not 20 meter canvases and they are not overburdened with colour. As Mytris proves, colour is secondary to texture, in a dress which is conceived of clear layers. There is a heaviness to the material and its folds, almost clinging to one another in a linearity that is reminiscent of the classical 'wet look' one finds on the Parthenon frieze, for instance. In Kiefer's work, there is a clash between the modern art historical language of forceful materiality, and the classical origins of subject matter. This combines with the fact that his sculptures are designed to be viewed in the round, a particularly important feature of Renaissance and Baroque works. The coming together of history and tradition gives Kiefer's pieces a timelessness, which is perhaps why they continue to appeal.

The heavy book that flops down on the shoulders of the figure links back to the title of the work and the identifying feature as Mytris of Anthedon, likely an unknown name for today's viewer - information only comes from a short summation by the Greek philosopher Plutarch, who describes her as a poet. Allegedly, a bronze statue was made of Mytris, however, details are vague. Weighed down by her knowledge in Kiefer's portrayal, she is no femme fatale but a woman of strength who celebrates her occupation. The huge array of figures covered by the Women of Antiquity series not only suggests the impressiveness of Kiefer's own classical knowledge, but highlights the potential of art in the modern age to revitalise figures from the past that might otherwise have been lost to history. 

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