View of the Bay of Bonassola in Cinque Terre c. 1925

Editor: This woodcut from around 1925, "View of the Bay of Bonassola in Cinque Terre," is by Otto Lange. It strikes me as quite moody, with those heavy, swirling lines in the sea and sky. How do you interpret this work? Curator: What strikes me is how Lange, an expressionist, uses this landscape not just as scenery, but as a vehicle for exploring the social tensions of his time. Think about the rise of industrial tourism in the early 20th century. Does this image celebrate or critique that development? Editor: That’s interesting! I hadn’t considered it in that light. I was mainly focused on the style. Curator: The style is key, but within a social context! Look at the sharp lines depicting the town versus the more organic rendering of the sea and mountains. This juxtaposition might represent the struggle between human development and nature's resilience, a concern deeply relevant then – and certainly now. How does this resonate with contemporary discussions around environmentalism and social justice? Editor: I see your point. The bridge and buildings seem to intrude on the natural curves of the bay. Considering the political climate of the Weimar Republic, could Lange be subtly commenting on the impact of modernization? Curator: Precisely! And it is more than just modernisation, isn't it? It's about whose interests are being served, and who is impacted. Even the choice of a woodcut, a more 'proletarian' medium than oil, adds another layer to that discourse. Who has access to this landscape, and what are the power dynamics at play? Editor: Wow, I never would have considered all that just from looking at it. I will never see art the same way! Curator: And hopefully you will ask critical questions regarding the socio-political-economical circumstances of when art is created. Art is never created in a vacuum.