Roofs of Florence 

Editor: Here we have Muirhead Bone’s "Roofs of Florence," a pencil and watercolor drawing. There’s something unfinished and melancholy about this cityscape. What strikes you about it? Curator: Well, what grabs me is Bone’s perspective. It feels like we're seeing Florence not from the grand palazzi, but from a more intimate, almost hidden vantage point. Think about who typically occupied those spaces, who had that particular view. What does that say about whose story is usually told? Editor: That’s a great point. It feels very different from a postcard view. Curator: Exactly! It's a conscious choice, a subtle critique, perhaps, of whose narrative dominates the representation of the city. He’s drawing attention to the overlooked, the everyday realities that often get erased in favor of idealized visions. Notice how the pencil strokes, combined with the watercolor, create this hazy, almost dreamlike quality? How might this artistic decision contribute to this counter-narrative? Editor: It does soften everything, making it feel more personal. I see how it can tell us something about the living conditions for many Florentines back then, what parts are often glossed over when thinking about its cultural wealth. Curator: And isn't it powerful how a seemingly simple landscape can open up these questions about visibility, power, and representation? Art is a portal to seeing those invisible and neglected contexts of human history. What do you think? Editor: Absolutely. I initially saw just a city scene, but now I am leaving with far richer observations to bring into the gallery space with me. Thank you for this approach.