Dal met begroeide bergen 1834 - 1911

Editor: So this is "Dal met begroeide bergen," or "Valley with overgrown mountains," made by Jozef Israëls sometime between 1834 and 1911, in watercolor. I find the landscape quite soft, almost hazy. How do you approach such a piece? Curator: Let’s consider the materiality first. Watercolor, especially when handled like this, has a direct relationship to labor. It’s often seen as a quick, less demanding medium than oil. But look closer – how does Israëls build up the textures? Are these rapid sketches done en plein air, or were they worked and re-worked? I suspect, by its very ethereal form, it probably was executed outside. What might this suggest about the social value placed on landscape painting at the time? Editor: It seems more accessible, somehow, less "high art." Were landscapes like this commercially successful? Curator: Exactly! And that is tied into the burgeoning art market. Landscapes offered a way to engage with notions of national identity, rural labor, and the picturesque. Consider also the pigment itself. Where did these colors come from? Were they manufactured, rare, costly? What impact did the availability of specific pigments have on the aesthetic choices he could make, in service of the market? Editor: So it's less about the artist's feelings, and more about the economics of art-making? Curator: Not entirely, of course. But it’s vital to understand how materials, production, and consumption intersect to shape the artwork we see, because what you see also drives market value, supply and demand for artists like Jozef. Editor: That’s a fascinating way to look at art. I’ll definitely think more about the materials next time. Curator: Absolutely. Examining materiality helps us uncover so many layers of meaning, and to connect the artwork to its world.