Berglandschap in Muotathal bij avond 1889 - 1902

Editor: So, this is Carel Nicolaas Storm van 's-Gravesande's "Berglandschap in Muotathal bij avond," an etching from around 1889-1902, housed in the Rijksmuseum. It gives me a feeling of enclosed vastness, if that makes sense? What catches your eye in this print? Curator: It's interesting you say enclosed vastness. To me, the social context is key. Landscape art in the late 19th century became a space for national identity to be constructed. Think about the burgeoning tourism industry: scenes like this became symbols of Dutch, or in this case, Swiss, cultural heritage, promoted for consumption. Does the romantic rendering hide something about how the area was experienced by its residents? Editor: That's a compelling angle. I hadn’t considered the promotional aspect of landscape art at the time. Are you suggesting the print flattens the local experience in service of a grand, tourist-friendly narrative? Curator: Precisely. Consider the choice of etching. The medium itself was easily reproducible, allowing for wide distribution, a key factor in shaping public perception. Was this meant to capture the experience for people who had visited or rather generate interest in people wanting to visit the region? And, importantly, who had access to these images and the experience that the prints represented? Editor: I suppose this could exclude a lot of people. Thinking about it, the 'endless' mountains could also stand for something powerful and immovable to those in their shadow. It's not so "touristy" anymore. Curator: Exactly! How accessible would the depicted "freedom" of a visit have been for everyone? Editor: This gives me a lot to ponder in regards to the societal impact of such serene depictions. Thanks! Curator: A pleasure! Remembering that art and its context often serve purposes beyond aesthetics changes how we see.