The Tower at Marghera 1764 - 1835

Curator: This drawing is entitled "The Tower at Marghera," attributed to Giacomo Guardi and thought to have been made between 1764 and 1835. It's crafted with pen and brown ink, with touches of gray wash on paper. Editor: My first impression is that it’s quite stark. The monochrome palette lends it a melancholy air, doesn't it? And there’s such a clear contrast between the built environment and the water it stands within. It also makes me wonder what function that tower originally served, and for whom. Curator: It's tempting to read it as a purely picturesque scene, but understanding the economic context of Venice is vital here. The activity along the shore suggests ongoing labour, perhaps related to maritime trade or ship repair. How are these activities represented and, importantly, who is missing from this depiction? Editor: That's an interesting point. There's a definite emphasis on male figures at work, with what seem to be gondolas as modes of transport and leisure, seemingly only accessible to some. And what about the materiality of the tower itself? Its form contrasts heavily with the seemingly precarious buildings nearby. Was its material sourced locally, or did it require global trade networks? Who built this? Curator: Exactly. Examining the labor embedded in the buildings themselves allows us to ask different questions. Was the structure about maritime activities? Also, do we understand this in the context of increased reliance on material resources? Perhaps these factors underpinned Venice's decline and shifted the relationship between those in power and those working to create wealth and facilitate leisure. Editor: Thinking about the era it was produced within, this was a period when Venice’s power was dwindling and the effects of colonialism were being felt worldwide. The architecture feels like a statement of intent, one that is challenged by signs of disrepair. Curator: It certainly raises crucial points about labor, value and representation. Editor: Yes, this small pen and ink drawing encapsulates such a complex web of power, labor and decline.