Trees near Albano. Light Trees 1774

Editor: This is John Downman's "Trees near Albano. Light Trees," a watercolor from the Tate. It's quite muted, almost ghostly. What do you see in this piece beyond just trees? Curator: I see a reflection of the Enlightenment's evolving relationship with nature. The picturesque aesthetic often served to sanitize and control the wild, framing it as a resource or a backdrop for human activity. Do you notice the subtle dominance of vertical lines? Editor: Yes, the trees definitely draw the eye upward. Curator: And how might that relate to societal structures of the time? Is the artist subtly reinforcing hierarchical notions through the very structure of the composition? What does it mean to frame nature in this way? Editor: I hadn't considered that. The act of framing itself imposes a certain power dynamic, doesn’t it? Thanks!