Panorama von der Diavolezza, The Engadine 1921

Editor: Here we have A. G. Wehrli’s "Panorama von der Diavolezza, The Engadine." It's a striking black and white image of snow-capped mountains. The composition, split into two registers, feels almost geological. What stands out to you? Curator: The division of the composition, indeed, highlights a structural dichotomy. Note how the upper register, with its clearly labeled peaks, provides a key, while the lower offers a broader, unlabeled vista. This suggests a movement from scientific observation to a more encompassing, perhaps sublime, experience of nature. Editor: So, it's not just about the mountains themselves, but how they are presented? Curator: Precisely. The formal arrangement invites us to consider the act of seeing, classifying, and ultimately, interpreting the natural world through visual means. What new appreciation do you glean? Editor: I see now how the structure influences how we interpret the sublime power of nature. Thanks for pointing that out!