Catskill – from J R Livingstons. TS 

Editor: So, here we have Thomas Sully’s watercolor, "Catskill – from J R Livingstons. TS." I find it delicate, almost ephemeral, like a memory of a place rather than a portrait. What strikes you most about it? Curator: I'm fascinated by the use of watercolor. The Hudson River School is often associated with grand, imposing oil paintings celebrating the sublime, but here, Sully uses a more humble material. This evokes a sense of the *process* of seeing and recording. Editor: Process? Could you elaborate? Curator: Consider the accessibility of watercolors. They were easily transportable, less demanding than oil paints in terms of preparation and drying time. They democratized landscape painting, allowing more artists access to depict their immediate environment, thus opening new material possibilities in terms of subject. Notice how the translucent washes render the scene with such a light touch. How does that compare to what we expect from Hudson River School works? Editor: It's far less bombastic, much more intimate. The detail is suggestive, almost relying on the viewer to complete the scene. Curator: Exactly! The choice of watercolor emphasizes observation. Look closely – it even feels like the paper *itself* becomes part of the composition, its very texture contributing to the airy feel. The artist’s labor becomes visible here in ways you might not see in a highly polished oil painting. Editor: That's an interesting point. The visible process undermines any illusion of the 'untouched' sublime, doesn't it? Curator: Precisely. It refocuses our attention to the artist's act of rendering nature using modest means. It’s no longer just about the grandeur, but the physical making. I find that really interesting to consider. Editor: I agree! I never thought of considering materiality to influence the context and feeling, I will definitely remember that in the future!