On the Oise 1863

Editor: This is Charles-François Daubigny's "On the Oise," painted in 1863. The use of oil paint gives the landscape a softness that I find quite captivating, it’s really calm. How do you interpret this work, looking at it from your perspective? Curator: Well, viewing it historically, Daubigny's landscapes like these played a vital role in shifting artistic conventions. Remember, he painted *en plein air*, capturing immediate impressions of the landscape. Consider this in light of the burgeoning Industrial Revolution – what might Daubigny be saying, or not saying, about the changing relationship between humanity and nature? Editor: That’s interesting, I didn’t think about that contrast before! The figures are small and seem like one with nature, they're integrated in their surrounding without perturbing anything. But did he intend to make some kind of political statement? Curator: Not explicitly, perhaps. But landscape painting itself was becoming increasingly politicized. Courbet, Millet and others used it to portray a romanticized vision of rural labor and challenge academic norms, highlighting a growing democratic impulse in art. Where do you think Daubigny positions himself within these new aesthetic and political directions? Editor: It seems he emphasizes tranquility rather than struggle. I guess its seemingly idyllic character maybe actually reflected a longing for a disappearing way of life. Curator: Exactly! And think about the role of exhibitions and the art market in shaping that reception. These works weren't simply personal expressions, they were commodities circulated and interpreted within specific social contexts. Editor: It is nice to think how an appreciation of the Oise valley, once available to few, now enters public discourse. Thank you, this helped me recontextualize my own response! Curator: It goes both ways! Considering art through the lens of history illuminates how seemingly simple landscapes are often entangled with larger social and political narratives.