Ricordo di Tivoli 1866 - 1867

Editor: Here we have Anselm Feuerbach's "Ricordo di Tivoli," painted in oil sometime between 1866 and 1867. There's this pervasive sense of longing about the whole scene, a kind of romanticized Italian countryside with the two figures set within it. What draws your eye when you look at this piece? Curator: Immediately, I'm struck by the tangible quality of the materials. Consider the texture implied in the folds of the woman's dress, compared with the smooth lute the boy is holding. Feuerbach's labor is evident, showcasing distinct skill sets for each. Also, the choice of oil paint itself; how does that elevate or democratize the themes being explored here? Are we really examining a pastoral idyll or a staged performance of one? Editor: That's a perspective I hadn't considered before, but I'm seeing the labor more distinctly now. Curator: Precisely. The making of this scene is as important as the scene itself. Think about the sourcing of pigments, the weaving of the fabric for their clothing – what were the economic and social systems underpinning that production? We might want to avoid getting lost in purely aesthetic notions, but think instead of materiality and of modes of making. Is it about celebrating "high" art? Or, by bringing those two figures together and representing them in such specific materiality is Feuerbach in a certain way collapsing that rigid distinction? Editor: So, we're not just appreciating the artistry, but also considering the complex layers of production and context woven into the piece? Curator: Exactly. We must see how those concerns influenced Feuerbach's vision, the reception by his audience, and even how we interpret it today. The “Ricordo di Tivoli” isn’t merely a visual representation; it's a record of labor and consumption. Editor: That truly reframes my perspective. I'll definitely be considering materiality and social context a lot more when viewing art going forward. Thanks for sharing this perspective!