Passing off of the Storm 

Curator: Here we have John Frederick Kensett's "Passing off of the Storm," an atmospheric watercolor that feels both tranquil and foreboding. Editor: It certainly has a stillness, almost an unsettling calm after the climax of the storm. The vastness of the water meeting that oppressive cloud bank feels heavy, doesn't it? I wonder, what materials would Kensett have used to create such a dreamy effect with watercolor? Curator: Considering Kensett's position within the Hudson River School, his approach invites consideration through the lens of Transcendentalism and Manifest Destiny, ideas rooted in a specific cultural milieu of his time, revealing both celebration and a silent violence on native land. What is being concealed and what is being presented becomes critical when exploring the social and political landscape in relation to the material conditions of its creation. Editor: It's intriguing to consider that. The very act of painting outdoors, "en plein air", shows the physical labor involved. The materiality of this artwork, the choices Kensett made in applying the pigment, speak to an embrace of a changing American landscape, transforming land into a saleable prospect via industrialised tourism. His hand in depicting this passing storm acts as a document to these transactions. Curator: Exactly. And understanding this shift involves looking at broader narratives: examining how landscape painting contributed to shaping a particular American identity connected with idealized views of nature, while deliberately erasing certain peoples. Editor: Yet, I’m also struck by how Kensett manipulated the materials at hand, allowing water itself to participate in crafting atmosphere; almost mirroring an attempt at manipulating resources into profit by means of industrial progress, much like the sails on those boats. Curator: Precisely, making those details especially powerful considering the historical amnesia perpetuated through landscape painting of this period. The role these landscape paintings play needs constant interrogation. Editor: Understanding the making of such landscapes adds layers to comprehending these representations. Curator: Absolutely. It opens a deeper understanding, a responsible one, challenging how we look at these canonical works. Editor: I agree entirely. Kensett's 'Passing off of the Storm', therefore, presents not just a tranquil scene but serves also as material witness, an artistic site where nature, industry, and societal structures intersect and deserve questioning.