Gezicht op Istanbul, de oude stad, vanaf de Gouden Hoorn 1830 - 1900

Curator: Looking at this drawing, titled "Gezicht op Istanbul, de oude stad, vanaf de Gouden Hoorn," dating roughly from 1830 to 1900 and attributed to Coke Smyth, I am struck by its ethereal quality. What’s your initial impression? Editor: There's a definite stillness, a hushed quality to it. The soft, muted tones—the etching and ink on paper—evoke a sense of historical distance, almost as if we're viewing a faded memory. The artist captures a moment of quiet contemplation. Curator: Indeed. Smyth’s technique emphasizes the atmospheric perspective, that haze gives us distance. As a depiction of Constantinople, this is significant in that the architectural symbols – the skyline dominated by minarets, the ships – become shorthand for the East in the Western imagination. It perpetuates, consciously or not, an orientalist vision. Editor: Absolutely, it’s hard to separate the image from the politics of its creation. But look at the symbolism of the birds overhead—traditional signs of freedom, of aspiration, or perhaps even of impending change. Even the Golden Horn itself, acting as the conduit for maritime trade, and of course, power. Curator: I am wondering what type of ships those are and what role they played, being positioned at different distances. To me, those are trade routes or movement of merchandise coming to a new economy of ideas and change. I imagine that this drawing would have circulated primarily among elite circles, shaping their perceptions of the Ottoman world. It brings to question the way it served specific ideological purposes through its artistic presentation. Editor: Agreed. This image provides an ideal occasion to analyze how a drawing became part of building both perception of people, as well as of the spaces, and its cultural value for western audiences. I think this artwork’s power is on those silent, not written assumptions, hidden inside those symbolisms of the landscape. Curator: This drawing indeed invites us to reflect not only on the portrayed landscape of Istanbul, but also the intricate connections between artistic representation, power dynamics, and cultural perception.