Zwei Rastende an einem grasbewachsenen Hügel 

Editor: We’re looking at *Zwei Rastende an einem grasbewachsenen Hügel*, or "Two Resting on a Grassy Hill," an etching in ink by Franz Kobell. I find it so delicate, especially the way the trees are rendered. What stands out to you? Curator: I’m immediately drawn to the material reality of the printmaking process. Kobell uses etching, a relatively democratic medium at the time, to portray an idyllic landscape. Consider the division of labor here: the artist’s hand drawing, the engraver potentially reproducing the image for wider consumption, and the consumer purchasing a tangible piece of idealized nature. What social class is reflected here and who could afford it? Editor: So you’re saying it's not just about the pretty scene but also the means of producing it and who had access to it? I hadn’t thought about it that way. The artist and consumer, and the link in between, yes. Curator: Exactly. The labor involved in creating and distributing prints allowed for a wider audience to engage with art, moving it beyond the confines of the aristocracy. Does this commercial aspect enhance or detract from its Romanticism, and in what ways does it do either? What implications would arise for an artwork displayed within museums rather than private aristocratic collections? Editor: That's a really interesting tension—a romanticized natural scene becoming a commodity. So much of what makes an artwork romantic is now wrapped in capital. Curator: And what are the socio-economic implications of Romanticizing rurality and nature when we talk about landscape art? Are we also looking at an attempt at justification of labor and private property via sublime imagery, or vice versa? Editor: I see your point. I came looking for aesthetic appreciation, but I'm leaving thinking about economics and the act of making!