Home from the Mountains, in Switzerland 

Curator: As we turn to face this lovely watercolor, we see what is titled "Home from the Mountains, in Switzerland", brought to life by John Absolon. What catches your eye about this image? Editor: Well, immediately the tranquility. The soft colors, the placid lake – it all suggests a very peaceful existence. It feels idealized, doesn’t it? Almost staged. Curator: "Idealized" is a good word for it, especially knowing Absolon’s other works which show his ability to distill human stories into these very precise and charming genre scenes. We are seeing three women, likely returning with the day's harvest. But their serene faces don't betray the hard labor they perform. Notice how he places the emphasis not on the struggle, but on the quiet beauty of their return. Editor: It makes me wonder about the target audience for this. This romanticized version of rural life…was it intended for an urban population, perhaps longing for a connection to the land they didn’t have? Were they yearning for what they saw as an idealized, authentic past? Curator: It definitely caters to certain longings, particularly the romantic appreciation of nature which was pervasive throughout the 19th century, coinciding with intense urbanization. Look closely and consider the image through its colors. The way he layers browns and reds for earth, juxtaposed with the light blues of the water and mountains, speaks volumes. Mountains are symbolic of something monumental. Editor: True. The backdrop certainly does suggest an idyllic existence, especially considering these figures were likely engaged in difficult manual labor, which is neatly avoided by this kind of painting. Curator: Absolutely. There's a narrative here that avoids grit. But the figures…the positioning of the figures within the boat creates a fascinating visual balance that is very evocative. Almost theatrical! Editor: So, what appears straightforward, in fact reveals layered social meanings… the marketing of the countryside as an idea more than a place. Curator: Precisely! And, on that note, a deeper dive into Absolon's piece brings into focus some important considerations about its historic position, wouldn’t you agree? Editor: Absolutely. I am going to look differently at watercolors depicting what is real versus aspirational after this conversation.