Capriccio with St. Paul's and Old London Bridge 1740 - 1750

Editor: This is Antonio Joli’s “Capriccio with St. Paul’s and Old London Bridge,” dating from 1740 to 1750. It’s a tempera painting with a sort of dreamy quality. It feels like a stage set, almost too perfect. What can you tell me about it? Curator: The "Capriccio" allows us to explore the complexities of the Grand Tour and its relationship to power and representation. How might the imagined landscapes Joli created reinforce or challenge the colonial gaze that often accompanied such travels? Editor: That's an interesting idea, could you tell me more about the colonial gaze and it's influence? Curator: Certainly, Think about the act of travel during this period. Who had access to it? Often, it was the wealthy elite, solidifying their social standing. Joli's landscapes, even imaginary ones, become commodities consumed by this class, thus influencing the social and economic dynamic of this practice. Editor: So, you're saying the painting doesn't just show a place, but also a specific viewpoint and experience tied to social status? Curator: Precisely. This particular painting highlights the political motivations tied to landscapes in painting. This becomes evident when assessing it through the lens of today's conversations about power structures. What do you think, does it change how you perceive the artwork? Editor: I definitely see it differently now. It’s not just a pretty picture, but a reflection of who got to define beauty and experience the world at that time. Thanks for making me think of art with different eyes!