View on the dome of Saint Peter's from the park of the Villa Borghese 

Curator: This tranquil watercolour presents a "View on the dome of Saint Peter's from the park of the Villa Borghese" by Enrico Nardi. Editor: It has this really dreamlike quality. Everything seems to soften into each other; a quiet reverence hangs in the air. The way the city is framed invites the viewers to stop for a while and simply contemplate. Curator: Yes, the viewpoint certainly seems carefully chosen to evoke that feeling. Painted en plein-air, which was still gaining popularity then, places the artist as both observer and participant within a changing cultural landscape of artistic representation. Think of the rise of tourism in the 19th century, which made views like this incredibly marketable. Editor: That’s fascinating. Thinking about the "plein-air" aspect makes me appreciate how immediate and physical the artist's process was. Notice how Nardi seems to use broad, thin washes with precision – almost frugally -- which creates a light airy feeling to such dense architectural detail. Did the use of watercolor have significance within the art world back then? Curator: Absolutely. Watercolor in the nineteenth century was gaining traction in British art for its ease and accessibility, especially when transporting art on paper through Europe for affluent tourists.. The picturesque as commodity; art shaping social practice. Editor: It also plays with notions of the ephemeral; capturing a fleeting moment and the way light interacts with objects. Here the materials reinforce the message. The pale yellows, greens, and blues soften Rome's harder edges. Curator: Quite true. There’s a strong idealization at play, softening social and urban tensions, proposing a serene continuity, which art in public spaces plays with until the present day. Editor: So, much more than just a view! It gives food for thought as the visitors move onwards. Curator: A pertinent perspective as people explore the park today too!