Newburgh 1914

Editor: Here we have James McBey's etching, "Newburgh," created in 1914. I’m struck by how sparse and almost desolate it feels, even though it depicts a landscape with figures. What sociopolitical factors might have been on McBey’s mind? Curator: That's a great starting point. Given the historical context – 1914, the cusp of World War I – how do you think the looming threat of global conflict might have seeped into this seemingly tranquil landscape? McBey, a war artist later on, was likely already aware of the shifting power dynamics and anxieties of his time. Editor: That's a very compelling observation. The seemingly carefree figures resting on the dunes suddenly feel a lot more precarious to me now. Were landscapes like this, especially depictions of the working classes near Newburgh, often infused with social commentary back then? Curator: Absolutely. The landscape itself becomes a site of power, reflecting issues of land ownership, labor, and the relationship between the individual and the state. Consider how the figures are dwarfed by the expansive scene – does it suggest a sense of individual agency, or perhaps the opposite? And the blurred skyline might suggest a kind of tension or unrest on the horizon. How do you feel about this choice? Editor: I can now notice how his printmaking highlights certain lines while blurring others which leads the viewer to wonder about the people in the print and the people who were left out. Thank you for helping me view it from a new lens. Curator: Of course! Recognizing art’s intertwined nature with identity, politics, gender, and race broadens our understanding and sparks critical thought about our own position in relation to art history.