Jerusalem 1852

Editor: This watercolor, simply titled "Jerusalem," was painted by William Edward Dighton. I'm struck by how the city seems both monumental and distant. What can you tell me about it? Curator: This image, created in the mid-19th century, reflects a very specific Western gaze upon the 'Orient.' Consider the composition: the city is elevated, almost untouchable. How might this portrayal reinforce colonial power dynamics and ideas of cultural superiority? Editor: So, it's not just a landscape; it's about power? Curator: Precisely. Dighton's depiction also omits the diverse inhabitants of Jerusalem. Instead, we see a romanticized, almost empty scene. Who is missing from this picture, and why does that matter? Editor: I hadn't thought about the absences. It adds a whole new layer to understanding this work. Curator: It shows how landscapes can be active participants in shaping historical narratives and justifying political agendas. Editor: I’ll definitely look at landscapes differently now!