Landschap met gezicht op de pasanggrahan Bondowoso 1848

Editor: This is Adrianus Johannes Bik's 1848 pencil drawing, "Landschap met gezicht op de pasanggrahan Bondowoso," or "Landscape with a view of the Pasanggrahan Bondowoso." It feels so calm, almost dreamlike, with those soft pencil strokes and hazy mountains. What do you see in this piece, looking at it through a wider lens? Curator: I see a depiction that is far from innocent. Consider the term "pasanggrahan" – a rest house. These structures were frequently used by Dutch colonial officials and planters. While seemingly benign, the drawing becomes a visual representation of colonial power structures. It romanticizes the landscape, yes, but also implicitly normalizes Dutch presence and control in the East Indies. Editor: So, the tranquility is almost a disguise? Curator: Precisely. Bik, as a European artist, is presenting a specific viewpoint, framing the landscape as accessible and available for Western consumption. The very act of sketching this scene contributes to the colonial gaze, an exercise of power through representation. How does this understanding shift your initial reaction? Editor: It's unsettling. I initially saw peace, but now I recognize a possible justification of colonial expansion through art. Curator: It highlights how landscape art isn't just about pretty scenery; it can be deeply embedded in historical and political narratives. It invites us to question whose perspective is privileged and what ideologies are being reinforced. Editor: I’ll definitely think twice about landscape art from this period. Thanks for opening my eyes! Curator: The pleasure is all mine. Always look beyond the surface!