Gezicht op 's-Hertogenbosch 1808 - 1848

Editor: Here we have "Gezicht op 's-Hertogenbosch" – that’s "View of 's-Hertogenbosch" – an etching by Pieter Barbiers, made sometime between 1808 and 1848. It’s a cityscape, but the softness of the etching gives it an almost dreamlike quality. What catches your eye in this work? Curator: What interests me is how this seemingly straightforward cityscape might actually be reinforcing certain power dynamics. Barbiers’ print situates the viewer at a distance, both physically and socially, from the bustling urban life it depicts. Consider who had access to, and was celebrated through, landscape art during this era. Editor: So, you're saying this isn't just a pretty picture? Curator: Exactly. Think about the rise of Neoclassicism in this period and how it looked to the past, often idealizing order and hierarchy. Landscape prints like this one, while appearing neutral, could be seen as reinforcing a particular vision of the Netherlands, one that favors the established order and potentially marginalizes the experiences of everyday citizens within 's-Hertogenbosch. Editor: That's a really interesting way of looking at it. I hadn't considered how a landscape could be making such subtle, yet powerful statements. Curator: Consider, too, the material – etching, a readily reproducible medium. This accessibility allowed for wider distribution of this particular vision, embedding it into the collective consciousness. Who is included, who is excluded and what power relations are at play here? What are we really viewing, when we consider those things? Editor: This makes me want to look at landscapes, and other artworks, with a more critical eye now. Thanks for sharing a new point of view. Curator: Absolutely. It’s vital to always consider context and to keep asking ourselves these important questions.