Gezicht op Lausanne, met uitzicht op de burcht en de kathedraal 1829 - 1911

Editor: We’re looking at “View of Lausanne, with a view of the castle and the cathedral,” a watercolor work attributed to Henri Knip. The museum dates it vaguely between 1829 and 1911. I’m struck by the almost idyllic, staged quality of the landscape—it feels like a romantic backdrop for the figures on the path. What draws your attention when you see this piece? Curator: It’s fascinating how this watercolour captures Lausanne through a very particular lens. What appears idyllic to you, is actually a carefully constructed representation serving certain social and cultural functions. The placement of the castle and cathedral so prominently, against a somewhat soft and dreamlike landscape, elevates the socio-political and religious power structures within the town. Consider, who commissioned this work, and who was the intended audience? Editor: So, you're saying the seemingly innocent depiction of nature is more of a carefully curated…propaganda almost? Did landscape painting at this time often serve such purposes? Curator: Propaganda might be a strong word, but it certainly participates in image-making around power. Landscape painting in the Romantic period was frequently tied to notions of national identity and civic pride. Displaying a prosperous and stable town, anchored by its religious and military landmarks, communicated specific values and a sense of order. The relatively diminutive figures and animals on the road emphasize scale. Why do you think the artist included them? Editor: That’s interesting. Perhaps to reinforce the idea of everyday life happening under the auspices of these grand institutions? It creates a sort of implied endorsement. The town thrives under the watchful eye. Curator: Precisely. Think of the painting not just as a visual representation, but as a historical document reflecting and shaping societal values. How does understanding this impact your initial perception of the artwork? Editor: It definitely complicates it. What seemed like a straightforward landscape now feels much more layered. I see how the composition contributes to constructing a narrative about Lausanne’s identity. Curator: Indeed. It makes you question what is presented, and perhaps, more importantly, what is intentionally left out. Editor: Absolutely. It's fascinating how much historical context can reshape our understanding of even seemingly simple artworks. Thanks for helping me see beyond the surface.