Corsicaans landschap 1921

Editor: Here we have Lodewijk Schelfhout's "Corsican Landscape" from 1921, an engraving currently residing at the Rijksmuseum. The contrasting black and white creates a very graphic feel, and I’m struck by how it simplifies the landscape, almost into a symbol. What do you make of this representation? Curator: This piece provides a glimpse into the rising popularity of travel and tourism at the time, particularly amongst the bourgeoisie. How does Schelfhout frame the image of Corsica, and for whom is he producing this image? We must ask ourselves, does this "Corsican Landscape" sell an idea of place more than a literal depiction? Editor: So, you’re suggesting it might be a constructed image, designed to appeal to certain travelers? What elements point to that? Curator: The print aesthetic itself, its reproducibility, allowed for broad dissemination of these picturesque scenes, shaping perceptions of foreign locales for those who couldn't necessarily experience them firsthand. Consider the composition, too – the tidy placement of buildings, the clear delineation of the landscape... Do these lend themselves to an “authentic” portrayal, or something more... curated? Editor: Curated. It's almost like a postcard, packaging the experience of Corsica for consumption. The bridge also feels like a constructed viewing platform, reinforcing that tourist perspective. Curator: Precisely. The very existence of readily available landscapes such as these in print suggests the democratization of art. By reducing it to a token, can the same be said of the place itself? Editor: It really underscores how art isn’t just reflecting reality but actively shaping our understanding and expectations of it. Curator: And how those understandings often become inextricably tied to broader societal trends and even, you could argue, manipulations. I leave this thought with you.