St Pietro in Perugia 21 - 1828

Editor: This is Friedrich Maximilian Hessemer's "St Pietro in Perugia," created in 1828 using graphite, pencil, and etching. The cityscape has a serene feel, and I'm intrigued by the detailed architectural rendering done in such delicate materials. What strikes you about this piece? Curator: What grabs me is the means of production in relation to the subject. A light, easily reproducible etching, pencil, graphite — materials associated with sketching and planning — is used to depict a massive, permanent architectural structure, Saint Pietro. It asks us to consider labor; the hand of the artist, yes, but also the labor involved in constructing and maintaining such a building, both materially and socially. Editor: So, the contrast between the ephemerality of the materials and the monumentality of the subject is intentional? Curator: I believe so. Consider the rise of Neoclassicism at this time, Hessemer's chosen style. It speaks to a renewed interest in classical ideals and order, but it also can be interpreted as a conscious reflection of power and control through architecture. This light drawing belies the heavy, often oppressive power structures inherent in these imposing buildings. It invites you to look behind the curtain, so to speak. What kind of labor created such structures? Editor: I see what you mean. The very act of drawing it in pencil brings a human scale to this massive structure. Curator: Precisely! It shifts our focus to the act of seeing and representing, reminding us that these buildings are not simply there, but are the products of immense labor, resources, and intention. The "means of production," so to speak, extend beyond just Hessemer's materials here. Editor: It's fascinating how focusing on the materiality can unpack so much about the social and historical context. Thanks for pointing that out. Curator: My pleasure. It's often the unexpected tension between subject and medium that offers the most fertile ground for inquiry.