Flock of Sheep 1884

Editor: So, here we have John Austin Sands Monks’ “Flock of Sheep,” an etching from 1884. It’s a pretty small print, but what strikes me most is the sense of quiet. What do you see in this piece, especially considering its time? Curator: That sense of quiet you mention is interesting because it stands in stark contrast to the period's rapid industrialization. Think about it: 1884. Factories are booming, cities are expanding, labor movements are gaining momentum. This etching, depicting a traditional pastoral scene, feels almost like a resistance to that, doesn't it? A deliberate harking back to an idealized rural past, possibly critiquing the environmental and social costs of progress. Editor: That’s a really compelling point. It’s easy to just see a pretty landscape, but viewing it as a form of resistance… What about the choice of etching? Does that add to the message? Curator: Absolutely. Etching is a process that allows for intricate detail, yet the tonal range is often subtle, creating a sense of intimacy. In this context, it feels almost like a whisper, a gentle reminder of what’s being lost amidst the clamor of the industrial age. Consider who this was marketed towards as well - likely wealthier patrons longing for a lost connection to nature that they were actively destroying with their support of the industrial age. Editor: So, it’s not just a scene of sheep; it’s a statement. The artist is subtly pointing to societal changes and the potential cost. Curator: Precisely. It urges us to consider whose stories are being told, whose voices are being heard, and whose landscapes are being valued in this era of transformation. Editor: I never would have looked at this little print this way without that perspective. Thanks! Curator: And thank you! It's always rewarding to connect art with the broader societal narratives that shaped its creation and reception.