Canal and Bridge of S.S. Apostoli, Venice 1916 - 1928

Editor: This is Muirhead Bone's "Canal and Bridge of S.S. Apostoli, Venice," likely created between 1916 and 1928. It looks like an etching or ink drawing. It's so detailed, and the way he captured the light reflecting off the water is incredible. What stands out to you in this work? Curator: Well, considering Bone's use of etching, I immediately consider the process and labor involved. The creation of the printing plate, the inking, the repetitive action of printing impressions – it speaks to the industrialization of art. Think about the market forces driving the production and consumption of such imagery of Venice, transforming the city into a commodity through reproducible images. What is being traded there? Editor: I guess I hadn't considered the "commodity" aspect. I was more focused on the scene itself, the bustling activity around the canal and bridge, the almost documentary-like quality of the image. But the printmaking process does change things... Curator: Exactly. It moves away from a singular, unique artistic gesture toward something more akin to craft production, something designed for wider distribution. Consider the social context too – Venice as a site of both romantic tourism and working-class labor. The boats, the bridge – all requiring maintenance, resources, and, therefore, labor. Can we separate the aesthetic appeal from the economic reality presented? Editor: So, rather than just seeing a pretty picture of Venice, you’re pointing out how Bone's print becomes part of the system that exploits the city's image and the labour of its people? Curator: Precisely. The materials, the method of production, and the context are intertwined. By thinking about it that way, we see the artwork as participating in something larger than itself. Editor: That's given me a whole new perspective on this piece! I appreciate that. Curator: Indeed. And that awareness only enriches our understanding of the piece.