Ruins in the Colli Albani 

Editor: So this is "Ruins in the Colli Albani," an oil painting by Giovanni Costa. It gives me a feeling of quiet reflection, like a peaceful decay amidst the grand sweep of history. What’s your take on it? Curator: It speaks volumes about how landscape painting functioned within the emerging national consciousness of 19th century Italy. The Colli Albani, dotted with classical ruins, become potent symbols. How does representing these ruins—and who chooses to represent them—affect their meaning and the stories they tell? Editor: That's interesting. So the act of painting these ruins contributes to a specific narrative? Curator: Precisely! Consider the sociopolitical context. Italy was undergoing unification during Costa's time. Landscape paintings like this, often displayed in public exhibitions, served to construct a shared cultural identity, connecting contemporary Italy to its classical past. The ruins weren’t just picturesque; they were loaded with political significance. Does that perspective change how you see the painting? Editor: It really does. I hadn’t thought about the political dimension of what seems like a simple landscape. So, rather than merely documenting the landscape, Costa is actively participating in nation-building? Curator: Absolutely. He’s utilizing the landscape to reinforce a specific historical narrative, contributing to a shared cultural heritage in a very intentional way. It begs the question: Whose history is being elevated and whose is being left in the shadows? Editor: Wow, I will never look at a landscape painting the same way. I am going to look into the exhibitions that might have hosted this painting during the 19th century. Curator: Yes, by considering this context, a simple landscape opens up an exploration into how imagery, patronage and public engagement coalesce in constructing a sense of nationhood.