Johnnie Armstrong's Tower c. 19th century

Curator: Right, so we’re looking at Edward Goodall’s print, "Johnnie Armstrong's Tower," held here at the Harvard Art Museums. My first thought? It feels... wistful. Like a memory fading. Editor: I agree. The tonality is soft. The composition divides attention between the bridge in the foreground and the tower in the distance, creating a visual dialogue about distance and perspective. Curator: Absolutely. That bridge kind of grounds you, while the tower whispers stories of long ago, perhaps of the Scottish border reiver, Johnnie Armstrong. Editor: The artist has certainly mastered the use of light and shadow to evoke a sense of romanticism. This seems less about topographic accuracy and more about a feeling. Curator: Exactly! It’s less concerned with the facts and more with the legend, the sheer romance of the Scottish Borders. Makes you wonder about the tales it could tell. Editor: Indeed. The technical skill evident in the rendering of form lends a certain authority to this interpretation of place, inviting further contemplation. Curator: It really does, doesn’t it? A reminder that places hold stories, if you’re willing to look closely. Editor: Yes, and sometimes the most powerful stories are the ones that are barely visible, lingering just beyond the grasp.