Towers of the Bishop's Palace, Beauvais 1907

Editor: Here we have Joseph Pennell's "Towers of the Bishop's Palace, Beauvais," an etching from 1907. It's so intricate, and almost ghostly in its depiction of the cathedral. What draws my attention is the striking contrast between the immense architecture and the barely-there figures on the street. How do you interpret this work? Curator: Pennell was deeply interested in how architectural monuments shape civic life. In this etching, he captures Beauvais Cathedral, but not just as a religious structure. He shows it dominating the urban landscape, influencing the rhythm of daily existence. Notice the high vantage point, the artist is showing the place of authority for this Palace. Editor: I see what you mean. The cathedral isn’t just a backdrop; it's this imposing force. Was he making a commentary about the church’s power? Curator: Absolutely. Pennell often explored the politics of imagery. Cathedrals, especially in post-revolutionary France, were potent symbols. Here, it could be argued, he is investigating how such structures – and by extension, the institutions they represent – visually and physically define the public sphere. What is access, what is control? Think about the art historical context. Who got to make and show work that glorified religious structures? What kind of access did most of the public have? Editor: That makes me look at it differently. The people almost seem dwarfed, insignificant in comparison. I never thought about cityscapes in that way before. Curator: Precisely. By juxtaposing the minute human figures with the colossal architecture, Pennell emphasizes that imbalance. Art helps shape public perceptions and social power and how social hierarchies operate. This seemingly simple cityscape etching reveals complex socio-political dynamics. Editor: I see the city now as layered with meaning, not just brick and stone. Thank you!