Mountainous Landscape with Hermits 1676 - 1730

Editor: Here we have Marco Ricci's "Mountainous Landscape with Hermits," likely made between 1676 and 1730, using watercolor and tempera. It's currently at the Met. What immediately strikes me is how meticulously detailed the landscape is, almost miniaturist in its approach. The hermits seem so small against the vastness of nature. What do you see in this piece? Curator: It’s fascinating how Ricci uses this genre scene to explore larger questions about humanity's relationship with nature, particularly in the context of the Enlightenment. How do you see this work engaging with the themes of piety and solitude that were prevalent in genre paintings during this time? Editor: Well, the hermits obviously represent solitude, but they are not completely alone since most are with some domestic animal. The landscape is beautiful but perhaps also imposing? Is Ricci making a statement about the role of the church here by situating that building atop a mountain? Curator: Exactly. The placement suggests a powerful, almost detached institution, overseeing the landscape and the lives within it. The church’s dominance is a political statement reflecting the Catholic power in Venice at the time. Do you see how the sublime and the everyday are in conversation here, mirroring broader societal dialogues about faith and reason? Editor: I do. The composition really emphasizes this separation. I hadn't thought about the implied power dynamics before, particularly between the institution and these supposed individuals, seeking escape from society but also maybe its judgement. Curator: These "genre paintings" aren't merely depictions, but carefully constructed narratives, reflecting societal values, political climates, and the institution of the church. Editor: So, this picturesque landscape is actually laden with political commentary about piety and religious authority of the day. I'll definitely look at similar works with a different eye now.