View of Gunib 1868

Editor: So here we have Aivazovsky's "View of Gunib," painted in 1868 using oil paints. It's such a majestic, almost imposing landscape. What strikes you most when you look at this painting? Curator: I'm immediately drawn to the materiality of it. The thick application of oil paint, the way he builds up the surface to create those mountainous forms, it speaks to a specific mode of production tied to that period. Consider the socio-economic conditions – where did Aivazovsky source his pigments? Were they locally produced or imported? Editor: That's interesting! I was just thinking about the Romantic feel of the landscape. Curator: Absolutely, the Romanticism is evident, but I wonder, can we see that as a commodity as well? It's not just about aesthetics, it’s about the commodification of that idealized view. These sublime landscapes were often created for a consuming audience, for patrons who might never experience these locations firsthand. Editor: So, it's less about the artist's emotions and more about… the market? Curator: Not entirely. The artist’s labor, the sheer physical effort of creating this large canvas, needs to be acknowledged. Think about the tools he used, the studio space, even the apprenticeship he underwent. The final painting is a culmination of these very tangible, material processes. What do you make of the figures at the lower left, almost hidden in shadow? Editor: They seem dwarfed by the landscape. Is that another comment on humanity’s place within a grand, exploitable system? Curator: Perhaps. Or is it a way of subtly commenting on social classes and hierarchy? The consumption and even conquest of the landscape are implicitly present through their tiny presence, inviting us to consider the labour involved. Editor: This has given me a whole new perspective on landscape painting! Curator: Exactly! It's about pushing beyond just the aesthetic appreciation and understanding art as part of a much broader network of materials, production, and consumption.