'Rejection' and 'consent'

Executed in ink or graphite, the drawings employ fluid, economical lines that capture motion and weight without heavy shading. Facial features are minimized, directing focus to limb positioning and spatial relationships. The absence of background or ornamentation isolates the figures, amplifying the psychological weight of their gestures. The sketch-like quality lends immediacy, as if the scenes were observed in passing.

The drawings are held in the collection of the Victoria and Albert Museum, acquired as part of a broader group of works documenting early 20th-century social dynamics. Their origin is tied to an artist engaged with gender and power in post-war Europe, though the specific creator remains unattributed in public records. They were likely produced in the 1920s or 1930s, reflecting contemporary anxieties around intimacy and authority.

Created during a period of shifting gender roles after World War I, the drawings respond to changing expectations of masculinity and female agency. Military uniforms signal institutional power, yet their presence in intimate settings complicates assumptions about control. The pairing suggests a deliberate comparison — perhaps a commentary on how societal norms frame touch as either threatening or desirable depending on perceived consent.

These drawings contribute to a quiet but persistent visual tradition examining consent through bodily language. Their simplicity and clarity have made them enduring reference points in discussions of non-verbal communication in art. Though not widely exhibited, they are frequently cited in academic analyses of early modern graphic narratives addressing personal autonomy and interpersonal boundaries.