A Capriccio View of Roman Ruins along the Tiber 

Editor: This is "A Capriccio View of Roman Ruins along the Tiber" by Jacob van der Ulft, a drawing made with ink. The sepia tones give it a wistful, nostalgic feeling. What strikes me most is the juxtaposition of grand architecture with everyday people. How do you interpret this work? Curator: This drawing participates in a long tradition of representing Rome, but also, *creating* Rome through images. By "capriccio," we understand a mix of real and imagined elements of Roman antiquity. These images weren't simply documentation. They shaped how people *thought* about Rome, reinforcing its cultural significance for the artist's contemporaries. Editor: So, it’s more than just a pretty picture. It’s actively contributing to Rome's identity? Curator: Precisely! Ulft presents ruins, not as tragic losses, but as picturesque sites that lend grandeur to daily life. Note the people casually inhabiting this space. Does that normalization change your understanding? Editor: It does! They’re not in awe; this grandeur is their backdrop. Does that tell us about the intended audience for these drawings? Curator: Definitely. These images catered to the artistic interest of wealthy collectors and Grand Tourists, cementing Rome’s importance within European culture. These views weren’t just souvenirs; they were cultural capital, displaying a refined appreciation for history and art. Editor: That's fascinating. I see now how art can participate in reinforcing certain power structures, and also constructing history itself! Curator: Indeed. Reflecting on the institutional display of art reveals as much about our current cultural priorities as about the past. It encourages us to be critical viewers of visual representations, considering what's shown, and just as importantly, what’s left out.