The Gates of Pedro Miguel 1912

Curator: Joseph Pennell's "The Gates of Pedro Miguel," part of the Harvard Art Museums collection, strikes me as a stark visual metaphor for ambition. What do you make of it? Editor: Immediately, I see a towering industrial scene. The tracks lead the eye into a maelstrom of construction. It feels... overwhelming, almost oppressive. Curator: Pedro Miguel, of course, refers to one of the lock systems in the Panama Canal. Pennell was fascinated by the epic scale of such projects. Editor: The scale is certainly evocative. All those tiny figures dwarfed by the immensity of the architecture speak to the role of human labor in shaping the world. Curator: Yes, and look at how he contrasts light and shadow, creating this powerful gateway effect. Do you think it's a celebration or a critique? Editor: I lean towards critique. There's something unsettling about the sheer dominance of industry over nature, a feeling that resonates with modern concerns about environmental impact. Curator: Interesting perspective. I see more of a testament to human ingenuity, the enduring symbol of progress, but I concede there's a duality at play here. Editor: Indeed, Pennell's image serves as a potent reminder of the cost of progress and the enduring power of symbolic landscapes.