Schepen van Napolitaans escader bij kust ter hoogte van Reggio 1778

Editor: We're looking at "Ships of the Neapolitan Squadron off the Coast near Reggio," a watercolor by Louis Ducros from 1778, housed in the Rijksmuseum. It strikes me as such a serene, almost dreamlike depiction of naval power. What do you see in this piece? Curator: Indeed, the tranquility is striking, considering it portrays a naval squadron. It's essential to consider the context of 18th-century maritime power. These weren't just scenes; they were often commissioned to project strength and political influence. The way Ducros renders the ships, almost weightless against the backdrop, softens that message, don't you think? Editor: It does. I guess I just assume a painting of ships should have a very different kind of visual and social presence. Was Ducros making a comment on Naples' place in Europe at the time? Curator: Precisely. The Kingdom of Naples was a significant, though often contested, political entity. Watercolors, unlike oil paintings, were more easily portable and reproducible. Think about how images like these could be disseminated, shaping perceptions of Naples in other European courts and among the public. Ducros here captures not just ships, but also an implied network of trade and power reaching well beyond this coastal scene. Who, then, was this imagery really for, if not just a pretty coastal tableau? Editor: That's really interesting. So the image itself functions almost like a piece of propaganda? A sort of gentle power play in watercolour? Curator: Exactly. Art, even something seemingly peaceful, seldom exists in a vacuum. The art market and patronage heavily influenced what was created and how it was received. Looking closely at such pieces, helps reveal those underlying forces at play in even the prettiest of pictures. Editor: That completely reframes how I see this piece! I'll definitely think differently about landscape and power from now on!