The Alcazar, Segovia c. 1903

Editor: This is Joseph Pennell’s “The Alcazar, Segovia,” a charcoal drawing from around 1903. The stark contrast between light and shadow really grabs you. It makes the Alcazar feel both imposing and somewhat dreamlike. What strikes you when you look at this piece? Curator: Pennell's choice of charcoal is crucial. Charcoal is an inexpensive and readily available medium. How does this relate to the depiction of the Alcazar, which was, even then, an iconic symbol of Spanish power and history? Doesn't it offer a fascinating tension, making accessible what was formerly an aristocratic domain? Editor: That's a great point! I hadn’t considered the material choice in that light. The contrast feels intentional now. How does Pennell's technique contribute to this feeling? Curator: Look closely at his mark-making. Quick, almost journalistic strokes create form, suggesting that the artist valued the recording of place. His rapid application indicates the democratization of image making in the early 20th century. Photography offered the middle class an accessible mode of reproduction but artists too were participating in expanding who has the power to create. The printmaking implications are key as well! What do you think about that? Editor: I see how this seemingly straightforward landscape is tied to production and social change. Pennell’s artistic decisions seem almost political in their own right. Curator: Exactly. This is why paying attention to material and means of production isn’t simply academic, it’s a way of seeing art’s active role in shaping our world. Editor: That completely changes how I'll look at landscapes from now on. Thanks for illuminating the hidden social commentary within Pennell's work!