Montmorency Falls, Canada 1850

Curator: Before us is John Mackie Falconer's "Montmorency Falls, Canada," an 1850 work residing here at The Met. Editor: Whew, talk about a dramatic first impression! That intense black ink and charcoal… it feels like I'm peering into some kind of raw, elemental force. Curator: Indeed. The dynamic use of contrasting tones constructs the voluminous form of the waterfall itself. The stark whiteness stands in direct opposition to the brooding blacks that sculpt the rock face. Notice how the light is rendered as an active presence, almost a tangible substance. Editor: You know, it’s funny—the waterfall is the focus, sure, but I keep getting drawn to those gnarly, skeletal trees clinging to the clifftop. There's a fragility there that almost humanizes the landscape, like a tiny defiance against the unstoppable power of nature. What do you reckon he was hinting at? Curator: Perhaps the enduring vitality of organic life amidst geological time? I mean, we can certainly decode the elements of romanticism embedded within this depiction. The sublime grandeur of nature, presented in a way that invites the viewer to ponder human existence in the face of such imposing landscapes. Editor: Sublimity and black ink? You're not wrong. What is so awesome is the immediacy. I can almost feel the cool spray on my face, hear the roar. But it is far away too. I wonder how many drafts did he need to take before coming up with this scene in particular? Curator: His process remains mostly enigmatic, yet the artwork does showcase his profound technical proficiency. The deft gradations in tone, achieved through masterful control of both charcoal and ink, suggest extensive preparation, but that’s merely my inference. Editor: That's fair! Well, this visit to the Falls really was something—epic, raw, and more than a little bit brooding. Like a Wagner opera rendered in charcoal. Curator: Precisely. A perfect summary to encapsulate the artwork’s visual weight. It is interesting to see an attempt for a grandiose depiction within such restrained palette and means.