Island of Staffa 

Curator: Here we have Edwin Austin Abbey's evocative rendering of the Island of Staffa, executed in watercolor. The date remains unknown, adding a layer of mystery. Editor: The subdued palette evokes a certain moodiness. The vertical lines, I assume, represent the basalt columns, but they seem almost woven or pleated. The artist is definitely manipulating texture here. Curator: Absolutely. Abbey’s choice of watercolor, a notoriously difficult medium to control, points to a deliberate decision about labor. Capturing the rugged beauty of Staffa was undoubtedly challenging. Were his patrons drawn to such representations of sublime landscapes? What does that say about Victorian sensibilities? Editor: Focusing on the visual organization, the composition has a simplicity—horizontal bands of water and sky against the solid, central island. The rough textures and muted colors enhance its remote, austere atmosphere. Curator: Think about the geological forces involved in forming those basalt columns. What kind of artistic license would a painter have been granted when presenting these views? Consider the travel necessary for an artist during this period, what the patrons valued, and how prints circulated. It tells us something about the consumption of landscapes during the time. Editor: From a purely formal point, the gradations of tone are superb, contributing to the overall sense of volume and depth. Notice how the layering of washes creates a sense of atmospheric perspective. Curator: It does draw us into considering the material culture associated with it and, by extension, how aesthetic experience is often entangled with economic conditions. Editor: Yes, indeed. But setting context aside momentarily, I must emphasize Abbey's exceptional command of tone and texture within this tranquil study. Curator: Very true, but a lot rests on what it tells us about art and production overall. Editor: Indeed, and Abbey has left us much to think about.