Rolling Fields, Mountains in Distance 

Curator: Alright, let's delve into this watercolor titled "Rolling Fields, Mountains in Distance," created by Thomas Sully. The artist is most famous for his work as a portrait painter. Editor: It feels like a quiet observation, you know? Very understated, but there's a nice, hazy atmosphere to it. Almost makes you want to take a nap on one of those hills. I would venture to say it has more of a contemplative tone. Curator: Considering Sully’s focus on portraiture, it’s interesting to see his venture into landscape, perhaps a move toward impressionistic plein-air painting? The style diverts a bit from the expectations surrounding his artistic training and professional circles. I am curious what his intentions may have been during production of the piece and how it relates to larger trends occurring within art history and history, generally. Editor: Well, for me, it feels really personal. Like he was just capturing a moment that struck him. I picture him pausing by the side of the road somewhere on his way to capture someone else's visage... The quick, almost dreamlike, washes are nice. I feel I can actually see the warmth of the light on the grass. I think my inclination towards landscapes and pieces like this one comes down to what they teach you to "see" with them. Curator: I appreciate that take! And that idea of "seeing" something new, perhaps that new thing in a historical and sociological sense is environmentalism? The romantic era interest in depictions of nature can certainly be discussed in the current era of Anthropocene discourse and contemporary artists grappling with environmentalism. Do you feel a kinship with those larger trends, or more so his perspective? Editor: I suppose I lean toward the perspective…but maybe because this landscape doesn’t seem quite grand enough to preach any sermon. It feels, to me, at least, quite intimate. A sort of unassuming beauty. It's very gentle. A calming moment, as it were. Curator: Perhaps that’s precisely where the activism and beauty intersect, that one can cultivate radical environmental action through personal experience. I do feel this intersection can be valuable when evaluating works. Editor: Maybe that's true. Art can hit you on a really personal level first, and that can wake you up. You start looking closer, not just at paintings but at the world, period. And suddenly, everything’s connected.