Landschap met een vrouw op een brug by A. Wicky

Landschap met een vrouw op een brug before 1902

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photography, gelatin-silver-print

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script typeface

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aged paper

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still-life-photography

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pictorialism

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paperlike

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landscape

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photography

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hand-drawn typeface

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gelatin-silver-print

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thick font

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handwritten font

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delicate typography

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thin font

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historical font

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small font

Dimensions height 128 mm, width 91 mm

Curator: So, here we have “Landschap met een vrouw op een brug,” or “Landscape with a Woman on a Bridge,” a photograph by A. Wicky, dating back to before 1902. It's a gelatin silver print, featured in a photography journal, no less! Editor: It's incredibly soft. Like a half-remembered dream. The tones are so muted, it almost feels like I’m peering through gauze. Is it supposed to be evocative, do you think, rather than sharp and defined? Curator: Absolutely! Wicky was working during the Pictorialism movement. Back then, photographers aimed to create images that resembled paintings or etchings. They manipulated the printing process to soften the focus and create an artistic effect. Editor: Ah, that makes sense. Look at the figure of the woman on the bridge; she's barely discernible. And the landscape almost blends into a watercolor wash. Everything sort of bleeds together. Curator: Yes, exactly. This was a deliberate choice, part of Pictorialism's push to legitimize photography as an art form. They wanted to distance themselves from straightforward documentation and assert artistic control. The appearance of the photograph within a photography journal emphasizes its historical and educational value to artists of the time. Editor: It's kind of ironic, isn't it? This "artistic" technique obscures the details, yet that fuzziness also evokes a feeling. I mean, I get a distinct sense of tranquility from this, even though I can hardly make anything out precisely. Curator: That’s precisely the power of suggestion at play. Wicky isn't concerned with clarity here. He’s after mood and atmosphere, the emotional impact of the scene. It's about creating a visual poem rather than a factual record. Editor: It works, too. Knowing its place inside this aged volume gives the work another, perhaps unintended, layer of meaning. It suggests the cyclical nature of artistic intention and technique, almost as if styles return, again, but refracted somehow. Curator: True, this image shows that photographs have a rich artistic past worth considering!

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