Sketch of Florence c. 1934

Editor: So, this is George Elbert Burr’s “Sketch of Florence,” made around 1934, a drawing using graphite and pen. It’s fascinating how he's captured so much detail with such simple materials. It feels both classical and immediate, a fleeting impression of the city. What catches your eye when you look at it? Curator: It’s precisely those simple materials that are key. Burr's choice of graphite and pen—readily available, inexpensive—situates this work not within the realm of high art portraiture or history painting but as something more aligned with everyday practices. Think of the etchers and engravers of popular prints. Where does this fall in the scale of 'art'? Editor: I see what you mean! The very materials suggest a different way of thinking about art production. This isn't some grand commission but rather an intimate observation, quickly rendered. So, the labor then is key, the swiftness of execution speaking to accessibility, not a preciousness of process? Curator: Exactly. We need to consider the economic and social implications of these choices. Pen and graphite are tools easily deployed, allowing for a democratized approach to art-making. And then think about the mass reproducibility afforded by prints. Is he offering us an opportunity to consume art at scale? Editor: That’s fascinating! I hadn’t considered how the choice of materials could be such a deliberate statement about art's place in society. So it challenges this whole notion of art being reserved for the elite. Curator: Indeed! It prompts us to think about who has access to art, both in its creation and consumption. And perhaps that changes our own definition of "art" itself? Editor: Absolutely. I’ll definitely look at landscapes and drawings in a new light. Thinking about the accessibility embedded in the choices that artists make is incredibly interesting.