Neufchatel en Bray 1905

Editor: We’re looking at Charles John Watson's "Neufchatel en Bray," an etching from 1905, printed with ink on paper. It depicts a town square, seemingly in front of a cathedral. It feels quite historical; what can you tell me about this piece? Curator: Consider the artist's choice of etching. This process allows for the mass production of images, thereby democratizing art and allowing wider access. Given that Watson chose to represent Neufchatel en Bray, a decidedly historical location in France, can we understand this decision as a reflection on the changing means of artistic production impacting traditional subjects? Editor: That's interesting. So you're saying the medium itself influences our interpretation? Curator: Absolutely. The material process shapes not only the final image, but also its reception. How does the choice of etching, compared to, say, oil painting, influence our perception of this "cityscape" as history? Think about the cost, accessibility and the skill or labor required. Editor: I guess an etching feels more…accessible than an oil painting, almost like a historical document. And given that the printmaking allows it to be reproduced, do you think Watson considered his viewers? Curator: That’s precisely where my mind goes. To engage with that fully, you would have to ask, who was the intended consumer of these images? Was Watson trying to preserve a rapidly vanishing way of life, producing "history" as a commodity for a burgeoning middle class with a taste for nostalgia? Editor: So, thinking about materials and production makes us rethink the entire purpose of the artwork! I never thought about approaching art in that way. Curator: Exactly. By focusing on the material, the medium, the how of its making, we can ask new questions about the why.