Gezicht op Torquay 1832 - 1852

Editor: So, this is George Rowe’s “View of Torquay,” an engraving from sometime between 1832 and 1852. The detail is striking; you can almost smell the sea air. It’s interesting how it captures a very specific place in time. What stands out to you in this piece? Curator: What immediately captures my attention is how this engraving operates as a visual document, shaped by the specific social and political contexts of 19th-century Britain. Torquay, at that time, was transitioning from a small fishing village to a fashionable seaside resort. Can you see evidence of that in the image? Editor: I think so? I mean, there are some grand-looking buildings but also the working harbour…it feels like two worlds existing side by side. Curator: Precisely. Rowe's engraving not only depicts the landscape but also participates in constructing Torquay's image for a growing tourist market. Consider who would be commissioning and consuming these images. They weren't just passive records; they were tools in promoting and shaping a particular vision of place, weren't they? The choice of viewpoint, the level of detail given to certain buildings… Editor: So it’s not just *what* is shown but *how* it’s being shown and to what end. It becomes less about pure landscape and more about marketing, or… social engineering almost? Curator: Exactly! And that interplay is vital. This engraving tells us as much about the social aspirations of the time as it does about Torquay's topography. It begs the question, what elements of modern-day cityscapes operate similarly in our society today? Editor: That’s a totally different way to look at landscape art than I was expecting. I guess it really pushes you to think about art as active in society, not just reflecting it.