Santiago de Cuba; Street Scene 1885

Editor: Winslow Homer’s watercolor, "Santiago de Cuba; Street Scene," from 1885, gives such a tranquil impression. I’m really drawn to the use of light to depict the architecture and figures within the scene. What do you see in this piece? Curator: Beyond the tranquil surface, consider the materials themselves. Homer's choice of watercolor—pigments suspended in gum arabic, applied to paper—speaks to the accessibility of art production. Watercolor, compared to oil, democratizes art-making. Note the textures he coaxes from it: granulated washes mimic stucco walls, while drybrush strokes define the sun-baked earth. Does this material context affect how you view the subject matter? Editor: I hadn't really thought about watercolor in that way, as accessible in its time. I was focusing on the style of painting. I see how this focus on material brings another dimension. Do you think it invites the viewer to contemplate labor involved in construction and daily life portrayed? Curator: Precisely! The informal composition belies a carefully constructed image. The vibrant colors are grounded by the subdued palette, highlighting the social fabric. Homer wasn't merely documenting; he was engaging with the colonial space, the physical materials of this Cuban town being laid bare. Consider the buildings themselves—what material can you point at? And what would that material represent as it applies to its Cuban culture? Editor: The buildings' vibrant hues, blues and yellows are eye catching.. You made me reconsider the process that the painter applied here. Thank you! Curator: It goes beyond appreciation of technique and beauty. We considered process, labor and social constructs that make this art not only visually engaging but also historically and culturally valuable.