James Dawkins and Robert Wood Discovering the Ruins of Palmyra 1758

Editor: Here we have Gavin Hamilton’s 1758 oil painting, "James Dawkins and Robert Wood Discovering the Ruins of Palmyra." There's something quite theatrical about the composition. What do you see in this piece? Curator: It’s tempting to view this through a purely Neoclassical lens, but let's look at its connection to orientalism and colonialism. Consider who commissioned it and the implications of "discovery." The clothing of Dawkins and Wood as opposed to those around them – what story is the painting implicitly telling about Western dominance? Editor: It’s definitely romanticizing their presence in what’s now Syria. Those starkly different clothes set up an "us versus them" narrative right away. But does the 'discovery' aspect entirely negate artistic merit? Curator: It’s crucial to not separate them. We must examine how aesthetics can be weaponized. Note Hamilton's use of light, guiding our eyes. How does it center the Europeans and subtly diminish the local figures? Is the ruin a backdrop for their triumph, or does the ruin symbolize a deeper message? Editor: It's like they’re claiming ownership just by being there and being painted there. So even something seemingly beautiful can reinforce harmful power dynamics. Curator: Exactly! How might a contemporary Syrian artist interpret the same scene? Or re-imagine it, reclaiming the narrative? Editor: I never thought about Neoclassicism having such a strong tie to colonial narratives. This makes me see the painting—and the era—in a whole new light. Curator: Precisely, art serves as both a reflection and a construction of historical power. Questioning its intent allows us to challenge the present.