Gezicht op Verona vanaf Castello San Felice c. 1835 - 1860

Editor: Here we have Ludwig Schütze’s “View of Verona from Castello San Felice,” dating from sometime between 1835 and 1860. It's an engraving, a cityscape that feels incredibly detailed. What strikes you about this print? Curator: I’m drawn to the perspective, immediately. This wasn’t just a rendering of Verona; it’s a conscious claiming of space. By choosing this elevated vantage point from the Castello, Schütze participates in a long tradition of artists visually "possessing" a city. Who is this “possession” for, I wonder? Editor: That's interesting. Is that common in cityscape art? Curator: Absolutely. Cityscapes have historically served as demonstrations of power, progress, and even propaganda. Here, the romanticized figures in the foreground become part of that demonstration; note their casual observation. They aren't laboring, just passively consuming this "perfect" view. What’s omitted is just as crucial. Editor: What kind of omissions are you thinking about? Curator: What about the urban poor? The working class whose labor built that city? Do we see their presence reflected in the image’s circulation and consumption? It is titled in both Italian and German – who do you think this print was made for, and how did this circulation play into the image of Verona itself? Editor: I guess it's easy to get lost in the aesthetic and not consider the underlying politics. Thanks, it's given me a lot to consider. Curator: Likewise! These historical landscapes become so much richer when viewed not just as representations, but as active participants in shaping cultural narratives and power dynamics.