Peter Fendi en zijn moeder onderweg van de hooimarkt naar de stad 1824

Curator: Looking at this artwork, there's a sense of quiet determination, isn't there? Editor: Yes, there is a subtle tension between stillness and motion. It's quite simple but there's a peaceful quality, but the landscape evokes social division. Curator: This etching, created around 1824, is titled "Peter Fendi and his mother on the way from the hay market to the city." Fendi himself was quite involved in the Vienna art scene, which, at the time, had quite defined boundaries between the privileged and the working classes. Editor: He’s holding what seems to be papers, what kind of city awaits him, in terms of the role of visual production? Does he get past class limitations? His mom seems bundled up and less sure of the path forward. This makes me wonder about artistic opportunities for people in the early 19th century. Curator: Exactly, that question of social mobility for artists like Fendi is key. His choice to represent this journey speaks volumes, given his commitment to social commentary. He worked as a drawing teacher for the Imperial family for many years so that he could, in turn, help his family rise in their society, in their city. Editor: Absolutely. And the way he renders the landscape—the hay market gradually transitioning into the cityscape—visualizes that tension between rural roots and urban ambition. But I'm drawn to the subtle interplay of light and shadow in this piece. Does this relate to how he wanted to showcase his family and position himself? Curator: Indeed, by portraying this, his narrative of ascension and resilience is showcased in a unique way, positioning himself away from his position in society. There is so much in how we represent ourselves in a system that always seems against certain members of our society. What a wonderful way to capture it through visual art! Editor: A lot to ponder when analyzing class in art in visual terms. Thank you. Curator: Thank you!