Castle on Height near Geneva 1836

Editor: We’re looking at Turner's "Castle on Height near Geneva," created around 1836 using watercolor and drawing techniques. I find it intriguing how Turner depicts the landscape – almost like fleeting, ethereal washes of color. What’s your perspective on this work? Curator: Considering the materials – watercolor and drawing – informs a critical understanding. Turner wasn't just depicting a picturesque view, he was actively engaging with the *stuff* of artmaking. Think about the mass production of pigments in the 19th century. How does this access and commodification impact Turner's romantic expression here? Editor: That’s a compelling point. So, you're suggesting we should look at the availability and use of materials as crucial to understanding the artwork's meaning? Curator: Absolutely. Watercolor allowed for spontaneity, portability – vital for landscape artists capturing fleeting light and atmosphere. But also, who had access to these materials? What social class, gender, position did that imply? The production and consumption of art supplies shaped artistic practice itself. Think of the rise of sketching tours amongst the middle class and how those tours further commodified labor related to production of the scene: lodging, porters, tour guides… Editor: I hadn't considered the social implications of artistic materials. How does understanding Turner's process then, affect our interpretation? Curator: It forces us to question the myth of the solitary genius. His sublime landscapes are a result of material conditions and societal shifts. How does that affect how we think about the “Romantic” and its inherent valorization of individuality and self-expression? Editor: That is eye-opening. I’ll definitely look at art through this material lens from now on. Curator: Me too. Thinking about this helps dismantle traditional boundaries between art and craft and forces us to question the very definition of fine art!