Landscape 

Editor: Here we have Panayiotis Tetsis’s painting, “Landscape.” Though undated, its watercolor medium and impressionistic style create an interesting effect. The bright colours create a feeling of liveliness that is only contrasted by the looming mountain. What do you make of this piece? Curator: The loose brushwork and choice of watercolour firmly places this work within the tradition of "plein air" painting. These landscapes were as much about documenting the experience of painting in a specific place as they were about realistically portraying a scene. Think about who gets to perform that kind of leisure, and under what social circumstances. What class of people and political apparatus would promote open access and leisure like that? Editor: I never really thought about plein air in that light before; I was too focused on it being this artistic practice! So, what does it tell us about its contemporary setting? Curator: Right, well, the prevalence of landscape painting in general often reflects a society’s relationship with the land. A scene of a peaceful dwelling amidst lush vegetation evokes a particular image of Greek identity and the appeal to both a local and global audience through imagery, during and after periods of conflict. Do you notice how the built structures sit nestled into their surrounding landscape, or partially obscured by it? Editor: I do see what you mean – the built and natural environment in a dialogue with one another. Curator: Exactly. It presents a specific relationship between humans and the environment, and that reflects ideological viewpoints present during the period it was painted. Thinking critically about what's *not* in the painting becomes equally crucial. Editor: That's so insightful! I will keep that in mind when analyzing art. Thanks for the lesson. Curator: My pleasure. Thinking about what is absent is equally if not more insightful when engaging with any visual form of expression.