Besneeuwde bergtoppen in Plattenkogel bij Krimml Possibly 1858 - 1859

Editor: We're looking at "Besneeuwde bergtoppen in Plattenkogel bij Krimml," or "Snowy Mountain Tops in Plattenkogel near Krimml," a pencil drawing, likely from 1858 or 1859, by Johannes Tavenraat. It feels almost like a geological survey—very precise, but somehow also very evocative of the grandeur of the mountains. What’s your take on it? Curator: This drawing resonates with the Romanticism movement's fascination with nature's sublime power. Consider the social context: the 19th century saw a rise in leisure travel, with the Alps becoming a popular destination for the European middle class. Art became a medium through which they experienced, and displayed, their connection to the natural world. How might Tavenraat's choice of pencil—a relatively accessible medium—relate to this expanding audience for landscape art? Editor: That’s a really interesting point! So, was the aim of the work perhaps to document rather than make a symbolic painting, which at the time it would've been revolutionary? Curator: Documentation plays a role, certainly. Realism was emerging. Yet, consider the composition: the stark, almost barren, mountains dominating the scene. Where are the figures, the signs of human presence usually seen? It’s in their absence that the social function is made, encouraging viewers to feel overwhelmed by the sublime power. Doesn’t the political message reflect a time of increasing social stratification? The wealthy afford to climb and contemplate! Editor: Wow, that makes me think about how access to nature has always been socially and politically loaded. I hadn't considered it that deeply. Curator: Art provides unique views of this context, so that even a simple sketch tells a whole story. And understanding those relationships enhances our perception and dialogue about art's ever presence in contemporary life. Editor: Thanks! I definitely have a richer understanding of the image now. Curator: Me too!