Venice, a view of the Basilica of Santa Maria della Salute 

Editor: This is David Roberts' watercolor, "Venice, a view of the Basilica of Santa Maria della Salute". The ethereal wash gives it a somewhat dreamlike quality. What catches your eye? Curator: I observe the composition first. Roberts skillfully orchestrates light and shadow to define form, most notably the Basilica itself. Note how the domes are rendered, the modulation of the washes suggesting volume and curvature. Do you see how he’s created depth? Editor: Yes, the overlapping of the boats, and the way the Basilica fades into the background creates recession. Curator: Precisely. Further consider the use of watercolor. The fluidity of the medium lends itself beautifully to capturing the atmospheric effects of the Venetian lagoon. Roberts doesn’t try to create a photorealistic depiction. It’s a suggestive, evocative impression. Editor: It’s very delicate, isn't it? Almost as if he wanted to capture a fleeting moment. Is there anything we can interpret from the composition that maybe goes deeper than just pure aesthetic? Curator: Think of the horizontality. The wide expanse of the lagoon, emphasized by the long format of the paper, is subtly interrupted by the verticality of the Basilica. It sets up a dialogue between the natural and the architectural. The artist wants us to focus on shapes, forms, tone values… and the feeling they give the image. Editor: So, it's about the conversation between these different visual elements and how they contribute to the overall aesthetic impact. I guess I was too focused on wanting symbolic readings of a landscape, and forgot to look at its most simple qualities! Curator: Exactly. Form is, after all, content.