Wandelaars op de Furkapas 1859

Editor: Okay, so this is Eugène Cicéri’s "Wandelaars op de Furkapas" from 1859, currently at the Rijksmuseum. It looks like it's made with watercolor, perhaps with some light pencil work too. What immediately strikes me is the way the vastness of the landscape dwarfs the small figures scattered throughout the composition. What's your read on this, how do you interpret this work? Curator: It’s interesting you note that contrast. Consider the historical context: the 19th century saw an explosion of landscape art, fuelled by Romanticism's idealization of nature, but also, and crucially, by increased tourism. These mountain passes were being "conquered" not just by scientists, but by the burgeoning middle class on holiday. Doesn't this image reflect that moment, a blend of sublime wonder and a certain possessive ambition? What’s being depicted isn’t just a place, but also a particular way of relating to it. Editor: So, are you saying the 'wandelaars' - the wanderers, the walkers - are not just passive figures but agents, representing a new engagement with nature? I didn't initially consider that. Curator: Precisely. It reflects changing social attitudes. Tourism as we know it began to take shape, driven by industrialization and expanding transportation networks. The Alps became a playground. And artists, supported by commissions and market demand, visually documented this cultural shift. Consider the light. Editor: True, the image overall does seem like it’s showing that they were there to show nature, as they have the full right to go out and “capture the moment." It's not threatening, which helps show how tourism began. Is there something else you learned? Curator: I think considering this work through the lens of tourism’s development reveals much about the evolving relationship between society and the environment. Editor: That’s definitely something I’ll keep in mind. It makes the artwork resonate much more with our current discussions about travel and its impacts.