Gezicht op Vedala paleis van de grootmeester, gelegen in het Boschetto op Malta 1778

Editor: Here we have Louis Ducros’ “Gezicht op Vedala paleis van de grootmeester, gelegen in het Boschetto op Malta”, a watercolor from 1778. The color palette is limited, dominated by earth tones. The architectural precision almost disguises the painting; the watercolor feels closer to document than fine art. What do you see when you look at it? Curator: Immediately, I am drawn to the implications of 'plein-air'. We are looking at the physical demands of artistic labor itself. Ducros was, quite literally, embedded in a material and social context, mediating its representation via watercolor. We could look to the materials: where were these pigments sourced? What social structures underpinned the production and availability of those pigments? Editor: That’s fascinating. It never occurred to me to consider that labor just by looking at it. So, is the choice of watercolor relevant too? Curator: Absolutely! Watercolor, often relegated to 'minor' status relative to oil, gains significance. We see Ducros actively choosing this medium, and the implication of transporting paper and paints to the ‘Boschetto’. How does this choice challenge our presumptions regarding 'high' and 'low' art forms when observing the elite's residence in Malta? We are dealing with taste, craft, and class distinctions. Editor: That’s so interesting – to think of watercolor itself carrying a sort of class status. I am starting to appreciate this work a bit differently. Thank you. Curator: My pleasure. Consider the social and material dimensions inherent to image making, and you will never view art the same again!