Soldiers at the Stelvio Pass 1866

Editor: So this watercolor piece, "Soldiers at the Stelvio Pass," painted in 1866 by Gerolamo Induno, portrays a group of soldiers in a mountainous landscape. I'm immediately struck by the muted colors and how they contribute to the scene’s feeling of isolation and weariness. What story does the materiality tell here? Curator: A fascinating question. Think about watercolor: a medium easily transportable, perfectly suited for a military campaign, right? Induno wasn't just representing the soldiers, he was actively engaging with the practicality dictated by military life. Editor: So, the choice of watercolor wasn't just aesthetic; it reflected the realities of being a military artist in the field? Curator: Precisely! The rapid execution possible with watercolor contrasts with the traditionally laborious oil paintings often used for history painting. This speaks volumes about the changed pace and means of disseminating images of warfare at this time. Moreover, Induno's use of watercolor democratizes the artistic process. It made the subject matter more accessible, less idealized and heroic, and perhaps even critique, of war, rather than celebration of conquest. The looseness of the technique almost mirrors the fragility of life. Editor: I never thought of it that way. Seeing the medium as an active commentator on the subject. Do you think it connects with genre painting? Curator: Absolutely! The artwork bridges what was considered "high art", such as Romanticism or history painting with humble, quotidian subject matter in a very specific moment of national building, making visible to a new public, what a modern war actually meant. Editor: So, by using such accessible means as watercolor, Induno is challenging traditional notions about what is appropriate for artistic rendering? I will think twice about watercolours! Curator: Exactly! Editor: Thank you for this point of view, I now see how deeply connected material, process, and social context are.