20. Otrano, Bay of Salerno 1778 - 1779

Curator: This watercolor by John "Warwick" Smith depicts "Otrano, Bay of Salerno." Though undated, Smith was active in the late 18th and early 19th centuries, and the work is part of the Tate collection. Editor: It’s quite striking. The composition, with that imposing architecture against the sea, evokes a sense of classical grandeur. There's a subtle elegance. Curator: Smith’s landscapes catered to a growing British interest in the picturesque. The Grand Tour fueled a demand for such scenes, presenting idealized, palatable versions of the continent. Editor: The colors are quite muted, a restrained palette of earth tones and soft blues. It adds to the overall feeling of tranquility, a serene vision of Italy. Curator: Indeed. Smith’s work was part of a larger phenomenon, where artists actively shaped British perceptions and expectations of the Italian landscape and its people. Editor: The linear precision is compelling, really defining the architectural forms and their relationship to the rocky coastline. It is a captivating construction. Curator: The watercolors of this era tell us much about artistic license and the colonial gaze, what was deemed worthy of depiction, and for whom. Editor: I agree. Looking at the piece I now appreciate the ways it blends topographical accuracy with artistic choices about light, color, and composition.