S. Maria Marinasco 1860

Editor: This is Edward Lear's "S. Maria Marinasco," held at the Tate. It's a small watercolor sketch. The light is so delicate. What strikes you about this piece? Curator: The materiality speaks volumes. Lear, known for his nonsense verse, approached landscape with similar freedom. Notice the hasty, almost frantic, use of watercolor, indicative of on-site sketching, capturing a moment in time shaped by specific weather conditions. How does this immediacy relate to the burgeoning tourism industry of the 19th century? Editor: It's like a quick snapshot of a place. I hadn't considered the tourism aspect. Curator: Exactly! The work becomes a commodity, a souvenir of experience. The paper itself, its source and cost, contributes to this understanding. What do you think about this? Editor: I guess I never thought about the paper and the labor behind it. So much to consider!