Façade of a Commercial Building, Venetian Gothic Style 1865 - 1875

Editor: This is a watercolor drawing from between 1865 and 1875, titled "Façade of a Commercial Building, Venetian Gothic Style." It’s by an anonymous artist and currently at the Met. It really captures a sense of burgeoning commerce in a romantic way, almost like a stage set. What's your take on it? Curator: What strikes me is how this work speaks to the 19th-century’s fascination with historical revivals, particularly Gothic. This wasn't just about aesthetics; it was a deliberate construction of identity. Who was appropriating these styles, and what did they hope to communicate through them about their social status? This is after all the facade of a commercial building. What’s being sold and to whom? Editor: That's a really interesting point, this isn’t a church, it’s commerce, so why the Gothic style? Curator: Precisely. The choice is never neutral. Think about the power structures embedded in architectural styles – Gothic, often associated with the Church and aristocracy. By applying it to a commercial space, the patrons are, consciously or unconsciously, suggesting what, perhaps attempting to cloak commerce with legitimacy, tradition, history… power? What statement is made by making something mundane appear so prestigious? How is space coded in ways that perpetuate class differences? Editor: So, the drawing becomes a record of how architectural styles were used to reinforce social hierarchies. I never thought about that. Curator: Absolutely. And considering this was made during a period of rapid industrialization and urbanization, this drawing invites us to question who benefitted from this economic expansion, and whose stories are missing from this romanticized view of the city. It's all about peeling back those layers and seeing what lies beneath the surface. Editor: That really gives me a whole new perspective. I now understand the connection between the visual and the socio-political contexts. Curator: It's all about thinking critically about the stories art tells and, more importantly, the stories it leaves out.