Gezicht op de Grote of Sint-Laurenskerk in Rotterdam en gezicht op de cokesoven in Rosenberg 1866

Curator: This print by Andrew Best Leloir from 1866, titled "View of the Grote or St. Lawrence Church in Rotterdam and view of the coking plant in Rosenberg," presents us with a compelling duality. What strikes you most about this piece? Editor: It's quite striking how the print juxtaposes these two seemingly disparate scenes: the imposing church set in a cityscape, and this rather bleak, industrial coking plant. The contrast in imagery is what I notice immediately. What kind of statement do you think Leloir was trying to make by putting these two images together? Curator: Indeed, that juxtaposition is precisely where the artwork generates its power. Think about the rise of industrialization during the 19th century, its impact on traditional ways of life and the landscape. How do you think the rising dominance of industry challenged established structures of power, like the Church, at the time? Editor: It seems that by placing them side-by-side, it suggests a tension, or perhaps a power struggle between traditional institutions and modern industrial progress. Was Leloir perhaps commenting on the environmental impact of industry as well? Curator: Absolutely! The smoking chimney acts as a stark visual representation of that impact, doesn’t it? But also consider the social impact. Whose labor fuelled these coking plants? What communities were most affected by both the pollution and the economic shifts brought about by industrialization? This image serves as a potent reminder to consider art within its historical, social, and economic framework, particularly regarding issues of labor, class, and environment. Editor: That makes me see the image completely differently now. I initially saw just two separate scenes. Curator: That's the beauty of art, isn't it? It's constantly revealing new layers when we consider its broader context.