Gezicht op het Isola di San Giorgio Maggiore c. 1850 - 1880

Curator: The ethereal mood created by this print of the Isola di San Giorgio Maggiore is quite affecting. I can almost smell the Adriatic Sea. Editor: indeed, the Venetian lagoon is front and center here. This photogram, titled "Gezicht op het Isola di San Giorgio Maggiore" meaning View of the Island of San Giorgio Maggiore was produced by Carlo Naya sometime between 1850 and 1880. I believe the stereoscopic printing format of this photogram is worth commenting on. Notice the duplicated image fields within the photographic card. Curator: Precisely, and in noting that duality one begins to understand the overall pictorial arrangement. Notice how Naya used relatively soft focus, to convey depth and texture. I am very interested in how the image leverages subtle gradations of tone and atmosphere. We get a phenomenal range of delicate tones within that muted palette, and observe that interplay of light, structure, and atmosphere Editor: These photograms gained quite some popularity in the nineteenth century with advancements in technology. In viewing this image, middle-class tourists were virtually transported to Venice's timeless cityscape, a sublime representation of the cultural milieu during Italy's *Risorgimento.* It also enabled those who couldn't travel to Venice, to witness the magic of the Piazza. The piece certainly speaks to democratization of tourism. Curator: An evocative hypothesis. Returning to the aesthetic elements, the framing of San Giorgio against the neutral water further enhances the contemplative feeling of the work, don't you agree? The spire becomes an almost totemic pillar. Editor: San Giorgio was often cast as a subject for aesthetic pilgrimage, much in the same way pilgrims flock to the isle even now. I'd like to further add that the artist made conscious stylistic decisions which allow us to further contemplate Naya’s role in Venice’s self-fashioning. Curator: Indeed. When you see an early pictorial masterpiece like this, it opens up a lot of ideas about where our art stands within that grand history. Editor: It highlights the ways visual imagery can act as a portal connecting the past, the present and the socio-cultural imaginaries of Italy.