Tivoli and the Temple of the Sibyl above the Aniene Gorge 1794 - 1798

Editor: So, this is Johann Christian Reinhart's "Tivoli and the Temple of the Sibyl above the Aniene Gorge," from around 1794 to 1798, done in ink. The brown washes give it a feeling of something ancient, unearthed. What’s your take on this landscape, from a cultural standpoint? Curator: For me, Reinhart’s drawing exists within a pivotal moment. The late 18th century witnessed a surge of interest in classical antiquity, fuelled by archaeological discoveries, which then intersected with burgeoning Romantic ideals of the sublime and the picturesque. What stories do you imagine might be circulating about landscapes at this time? Editor: Well, it feels like the beginning of modern tourism with this desire to capture picturesque landscapes... I imagine ideas of the Grand Tour were really influential. Curator: Precisely. Consider the social implications of that ‘tour.’ Who had access to such privileged travel and cultural consumption? Reinhart, though not independently wealthy, carved a career catering to this elite, producing idealized visions of Italy, that reinforced existing power structures, and cultural norms. Editor: That’s a great point, so while it seems romantic, it reinforces a certain social order and power. It also excludes many people who wouldn’t be able to see it. Curator: Yes. We have to ask ourselves how art might also function as a gatekeeper of knowledge and experience. And think about how it continues today. Do certain representations of landscapes still function to include certain people while simultaneously excluding others? Editor: Wow, I see this artwork so differently now! I hadn't considered it in light of inclusivity and access, but it's such a valid approach. Curator: Exactly, Reinhart gives us a portal into complex social dynamics in his landscape depictions.