Landschaft mit Gewässer, rechts auf einem Berg eine Festungsanlage 

Editor: So this pen and ink drawing, "Landschaft mit Gewässer, rechts auf einem Berg eine Festungsanlage," landscape with water, a fortress on a mountain to the right, is by Franz Kobell. It's a delicate rendering; almost ethereal. What are your thoughts on it? Curator: Well, I find it intriguing to consider the labor involved in creating such a detailed landscape using only pen and ink. Think about the time investment, the skill needed to manipulate the materials, the repetitive movements required to build up those layers of shading. Do you think this meticulous process affects our reading of the landscape itself? Editor: That’s interesting, I hadn't considered the labor. Maybe. How so? Curator: I'd argue it pushes against the Romantic ideal of the sublime, untamed landscape. Instead, we see a landscape actively shaped and mediated through human effort, mirrored in the depiction of the fortress itself. The act of drawing becomes a form of control, a claiming of the land. What implications does it have on the eighteenth century understanding of the land, resources and power? Editor: So you're saying the drawing process reflects a specific relationship with the natural world? Curator: Precisely. It’s not just about observing nature; it’s about imposing order and ownership, something that can be also be observed through consumption patterns. What kinds of patronage would facilitate such a labour-intensive craft? Editor: The drawing suddenly seems less serene and more about asserting dominance. Curator: Absolutely! Considering the materiality and process helps us see beyond the surface beauty and engage with the deeper social and political undercurrents at play. Editor: I see that the act of creation, the ink on paper, speaks volumes beyond the image itself. Curator: Yes. And looking at these works allows us to unpack production.