Two Pipers from the Abruzzi in Rome 1808

Editor: Here we have "Two Pipers from the Abruzzi in Rome," a watercolor by Bartolomeo Pinelli from 1808, housed in the Cooper Hewitt. It strikes me as a somewhat melancholic scene despite the presence of musicians. The palette is muted, mostly grays and blues. What can you tell me about it? Curator: Indeed. It’s interesting how Pinelli captures a sense of Roman life, specifically genre painting depicting local customs and people. But there’s a curated aspect to it as well. Consider the early 19th century. Rome, still reeling from Napoleonic occupation, becomes a key destination for Northern European travelers, right? Editor: Precisely. The Grand Tour! Curator: Yes, exactly. How might Pinelli's work cater to that tourist gaze? Think about the romanticized idea of Italy as the land of simple folk, ancient ruins, and picturesque scenery. He’s presenting an idealized image that tourists would want to buy, perpetuating a specific, arguably limited, view of Italian culture. Are we truly getting a genuine view? Editor: I see. It's not just a snapshot; it's a commodity designed for a specific market and consumed within specific institutional and historical powers. How much is it really just performative authenticity for these wealthy travellers? Curator: Exactly. The museum itself plays a role in reinforcing these readings. By acquiring and displaying pieces like this, museums can either reinforce existing narratives or challenge them. That watercolor, then, becomes part of a larger political and economic exchange. Editor: It completely changes the way I look at this seemingly simple scene! I am far more aware of how such imagery would have been viewed when bought and exported back to places like London or Berlin. Thank you for the insight!