Gezicht op de Dam en de Beurs van Zocher in Amsterdam 1860 - 1890

Editor: So, this is "Gezicht op de Dam en de Beurs van Zocher in Amsterdam" by Andries Jager, dating roughly from 1860 to 1890. It's an albumen print showing a bustling cityscape. It feels quite formal, almost staged, capturing a moment of apparent progress with those trams and imposing buildings. What do you see in this piece? Curator: It's fascinating to consider the socio-political context that framed Jager’s photographic choices. The new Beurs, or stock exchange, embodies Amsterdam's ambitions as a center for trade. The print, circulated widely, performed a specific kind of city branding, if you will, aligning the city with modernity. Notice how the composition seems designed to communicate power. Editor: The grandeur of the architecture certainly suggests that. The framing and angle seem quite deliberate in highlighting the importance of the Stock Exchange. How does the rise of photography influence that? Curator: Exactly. Photography offered new avenues for promoting civic pride and attracting investment. Prior to photography, such views were rendered primarily through painting and printmaking, avenues limited by access and affordability. The seemingly objective nature of photography further enhanced the persuasive power of such cityscapes. But it also raises interesting questions about what Jager chooses to include, and perhaps more interestingly, to exclude. Who gets represented in these urban spaces, and how? Editor: That’s a great point! It is quite curated, despite the apparent “realism." I never considered how photographic cityscapes helped construct the idea of a modern, prosperous city. Curator: Indeed. And considering the wider distribution networks available through photography allows us a richer understanding of how ideas about urban space were created and shared in this period. This albumen print served a social function. Editor: I’ll definitely look at these kinds of images with a different eye from now on. Thanks!