Gezicht op de baden van Chaudfontaine bij Spa 1734

Curator: What we have here is "View of the Baths of Chaudfontaine near Spa," an engraving from 1734. The artist is listed as Anonymous, held at the Rijksmuseum. The print captures a scene from what we now call a health spa, and there's a fascinating tension for me in its portrayal. Editor: It’s lovely! It gives me such a tranquil feeling. All these tiny figures interacting against this gorgeous backdrop. What do you see in this piece, particularly considering its history? Curator: What strikes me is how this seemingly picturesque landscape masks a more complex social reality. Chaudfontaine wasn’t just a scenic getaway; it was a site of social stratification. Who do you think could afford the "cure" at a bath like this in the 18th century? Editor: Probably only the wealthy elite? Curator: Exactly! While the engraving presents a harmonious scene of nature and architecture, it also subtly reinforces a power structure. The image doesn't directly address those who couldn't access such spaces or the labour that supported it. The water itself would have been seen differently based on social class and health. Editor: So, it’s idyllic, but with a bit of a blind spot to inequality? Curator: Precisely. Furthermore, the 'anonymity' of the artist raises questions, doesn't it? Is that because the piece had more commercial that artistic value? It is both promotional and an artistic object that hides far more than it reveals. Editor: Wow, I never would have considered those social implications. This really shows how art can tell a bigger story, one that involves history, class, and who gets to enjoy these supposedly "healing" spaces. Curator: And it is that very intersection that continues to provoke discussion on equity. It's not just a landscape; it’s a statement, or maybe more accurately, an omission that speaks volumes.