Bonchurch 1850s

Editor: Here we have Benjamin Brecknell Turner's "Bonchurch," an albumen print from the 1850s. It's quite evocative, almost dreamlike in its sepia tones, depicting a church nestled amongst trees. It seems a rather secluded and sheltered place. What do you see in this piece? Curator: I see a carefully constructed image that speaks to Victorian anxieties about modernity and loss of traditional ways of life. The church, almost hidden by foliage, becomes a symbol of the old order, threatened by encroaching industrialization. Editor: So, the trees almost act as a barrier, a shield against something? Curator: Exactly. Consider the social context of the 1850s – rapid urbanization, technological advancements, and shifts in religious belief. Turner, like many of his contemporaries, was part of a movement looking to preserve and idealize rural England. The composition here invites us to reflect on who has access to this idyllic vision, and who is excluded. Was this a conscious exclusion or a consequence of social status? Editor: That’s fascinating. It makes me consider the photographic process itself too. Photography was so new then. How did its accessibility play a role in shaping the narrative of places like Bonchurch? Curator: That's a crucial point. The rise of photography democratized image-making, allowing for a wider distribution of these nostalgic landscapes. However, it also risked romanticizing rural life, obscuring the realities of poverty and hardship faced by many. It prompts a critical discussion of representation and agency. Who tells the story, and whose perspective is privileged? Editor: I hadn't considered that the image itself is a commentary on the changes happening at the time. Thank you for opening up my understanding of how art and historical context can shape each other. Curator: Absolutely. It's by interrogating these connections between art, society, and power that we truly engage with the work's significance.