The South Side of St Mark 1851

Curator: Good morning. We're standing before John Ruskin's watercolor titled "The South Side of St Mark," created in 1851. Editor: There's an airy serenity here, an almost ethereal lightness to the structure despite the obvious density of stone and carving. Curator: Indeed. Ruskin's approach highlights architectural details, employing watercolor to render the ornate arches, the clustered columns, and the play of light on stone. Editor: It almost feels like a ghost of a building, capturing a moment in time rather than solid permanence. Considering the social and political unrest in Europe at this time, do you see a statement here? Perhaps a desire to preserve or immortalize a cultural monument? Curator: That’s an interesting point. My immediate thought centers around his dedication to capturing the pure forms and precise arrangements. Consider the repeated vertical thrust of the columns, juxtaposed with the curvilinear nature of the arches above. These formal oppositions are key. Editor: But aren't those choices also a form of preservation? By highlighting the artistry, Ruskin invites the viewer to recognize its value and fragility. How did he and his Pre-Raphaelite peers view Venice and the conservation of its iconic architectural treasures, particularly amid rising industrialization? Curator: His concern certainly extended beyond mere formal study. However, one can’t deny that he had an analytical perspective towards structures such as the column. Its position in architectural structure, the function and purpose, the balance of positive and negative space… these all contribute to the composition's dynamism. Editor: I wonder, also, about Ruskin's place within the colonial gaze of the Victorian era. Was he, in a sense, appropriating or lionizing Venice’s cultural legacy to underscore British ideals of taste and historical awareness? Curator: A fair point. But I think we can also see that the image shows his appreciation for intricate designs, complex structures, light, shade and texture that combine to evoke a distinctive aesthetic experience, right? Editor: Absolutely, it is visually striking. Thanks for that insight. Curator: Thank you. I always learn from you.