Haven van Bastia op Corsica 1924

Editor: So, this is Lodewijk Schelfhout’s “Haven van Bastia op Corsica,” made in 1924. It’s a print, giving it a somewhat stark, graphic quality. What strikes me most is how the scene feels both idyllic and strangely isolating. What do you see in it? Curator: The starkness you observe speaks to a critical tension: the romanticized view of Corsica versus the lived realities of its inhabitants. Schelfhout, as a Dutch artist, likely approached this landscape with a colonial gaze, seeking an ‘untouched’ paradise. Notice the figure on the donkey – does she seem integrated into the landscape or almost imposed upon it? Editor: I see what you mean. She's definitely separate. Like she’s passing through rather than belonging. The way she is dressed makes me think about how she relates to the environment. Curator: Precisely. Her dark clothing creates a silhouette that sets her apart, hinting at potential socio-economic disparities. Consider the time this piece was created – the 1920s were a period of burgeoning tourism. How do you think the print reflects or perhaps critiques this influx of outsiders impacting the local culture? Editor: It’s interesting…the woman on the donkey and the fishermen might be experiencing displacement because of tourism. Curator: Yes, displacement of cultural practices. The artist uses visual cues that are a mix of both observational and social commentary. What seems at first like a simple landscape harbors deeper questions about cultural preservation and the ethics of representation, don’t you think? Editor: I agree. I didn't catch it before, but the visual is infused with questions regarding tourism, colonialist views, and socioeconomic considerations. It has been great discussing these socio-political perspectives and reflecting upon identity. Curator: Absolutely, and by discussing those factors, we can perceive the painting through an intersectional lens.