Curatorial notes
Editor: This is George Inness’s "Clearing Up," an oil painting that, although undated, captures a tranquil, almost idyllic scene. It looks like impasto was used quite extensively to add layers of paint that create an almost tactile surface. How do you interpret this work, especially given the material qualities? Curator: Looking at the impasto technique here, it becomes clear Inness wasn't simply representing a landscape but also emphasizing the materiality of paint itself. Consider how the thick application alters the perception of light and shadow. It transforms the canvas from a window onto nature into an object with its own physicality. This elevation of the material aligns with a broader shift in art towards acknowledging the labour and processes involved in its creation. Editor: That’s an interesting point! So, are you suggesting the heavy application challenges the idea of a purely representational landscape, drawing attention to the ‘made’ nature of the artwork? Curator: Precisely. Think about the accessibility of paint manufacture during Inness's time. The industrialization of pigment production made art materials more available. Could this democratization of the material influence Inness's willingness to showcase the paint itself as a prominent feature? The labour is implicit, and in some ways celebrated. What do you think? Editor: It does make you wonder if the easy access to paint encouraged artists to explore more experimental techniques. I hadn’t considered how the industrial context shaped even the style and technique on display. Curator: And consider that Inness was a proponent of Tonalism, an American style characterized by muted colors, vague forms, and emphasis on mood. So even if it is landscape, the artist can play with light and colour in the studio to explore new materials and processes. Editor: Thanks for illuminating those connections. Now I see this landscape less as a depiction and more as an exploration of materiality, and production – the very labor involved in the craft.