Santa Maria della Fava 1925

Editor: This etching, "Santa Maria della Fava" by James McBey, dating from 1925, presents an intriguing cityscape. There's a real sense of atmosphere, a kind of shadowy drama playing out around this church. What's your read on this piece? Curator: It’s fascinating how McBey uses etching to explore the power of public spaces. We often see Venice represented in art as this shimmering, romantic ideal, but here, the stark contrast and the shadowy figures give it a more unsettling tone, right? He seems less interested in architectural precision, and more interested in capturing the mood and the movement. Consider the socio-political climate of the 1920s - post-war disillusionment, a questioning of established norms. How do you think this etching speaks to that context? Editor: I hadn’t thought about it that way. I guess I was just responding to the immediate visual impression, but I can see how it departs from more celebratory depictions of Venice. The density of the crowd definitely adds a certain… anxiety, I suppose. Curator: Precisely. The composition subtly questions the role of the church, too. Instead of glorifying religious architecture, he blurs the lines between the sacred and the secular, making the building almost like a backdrop to the social scene unfolding in front of it. Also note that it’s a print, multiple could be made, widely distributed... so, who is it *for*? Who might buy this, and why? Editor: That’s a good point, considering printmaking made art more accessible. So maybe he's trying to provoke a dialogue with a broader audience about societal values? Curator: Absolutely. Etchings like these were important in shaping public perceptions and debates about the changing urban landscape and cultural identity. They're not just pretty pictures; they are arguments. Editor: This really gives me a new way to think about cityscapes and how they reflect the times. Curator: Me too. The layering of context with technicality makes one appreciate this work beyond just what is seen.