Vues d'Amerique: Lac Georges; Près des chûtes de Trenton, Oneida County; Vue de la rivière du Nord, prise à Clermont; Chûte de la Passaic; Près de Tuckerton; Chûte de West Canada Creek, près de Trenton, Oneida County; La Source à Schooley's Mountain 1821 - 1831

Editor: This print, "Vues d'Amerique" by Charlotte Bonaparte, dating from 1821 to 1831, compiles different American landscapes. I'm struck by its Northern Renaissance aesthetic, kind of austere, yet it’s also clearly intended as promotional. What story does this collection of images tell? Curator: Indeed. These meticulously rendered landscapes aren't merely topographical documents; they're carefully curated scenes, contributing to the construction of an American identity. Consider the timing: early 19th century. America was still defining itself on the world stage. How do you think prints like these played into that process? Editor: I guess by romanticizing its natural beauty, maybe trying to attract settlers or investors. It’s a highlight reel, right? Curator: Exactly. But also, more subtly, these images shape perception. The inclusion of specific locales like Schooley’s Mountain—a spa destination—reveals an effort to depict America as not just wild and untamed, but also as refined, civilized. They subtly blend nature and emerging leisure culture. Editor: So, it’s selling an image of America as both rugged and…comfortable? It’s interesting that an outsider, Bonaparte, is creating it. Did that perspective impact the presentation, you think? Curator: That's a key question. How might Bonaparte's European background have shaped her selection and representation of these American scenes, especially regarding what she thought would be most appealing or understandable to a European audience? Editor: That's a lot to consider! I’d initially seen them as simply pretty landscapes, but now I see how carefully curated they were, maybe to create a certain impression. Curator: Precisely. Art’s power lies in its ability to shape our perceptions of ourselves and the world. Even landscapes can participate in complex narratives of national identity.