After Both 

Curator: This drawing, "After Both," comes to us from the hand of Thomas Sunderland, who was active in the late 18th and early 19th centuries. It resides here at the Tate Collections. Editor: It has a very subdued, almost melancholy feel. The palette is so restrained; it's as if the scene is viewed through a layer of time itself. Curator: Looking at the figures, it seems like a commentary on labor and travel, the everyday movement of people and goods in a pre-industrial landscape. The scene feels almost staged, idealized. Editor: The lack of color and the quick, almost impatient linework really emphasize the basic materials. Ink on paper. It’s a very immediate process, isn't it? Stripped of any embellishment. Curator: Perhaps Sunderland is reflecting on the social stratification inherent in rural life, hinting at the disparities between those who travel and those who remain rooted in the land. Editor: It makes me wonder what kind of paper and ink were available to him, and how that affected the final product. Curator: Ultimately, I am reminded that art can be a mirror, reflecting our own biases and assumptions about the past. Editor: Indeed, thinking about Sunderland’s own access to materials really makes me consider how our understanding of art history is shaped by access and opportunity.