Else Wachenheimer-Moos in een veld en op een balkon, 1926-1927, Sofia 1926 - 1927

Curator: Alright, let’s discuss this fascinating page from the Wachenheimer family album, dated between 1926 and 1927. It features two portraits of Else Wachenheimer-Moos taken in Sofia. Editor: Immediately I'm drawn in by the soft light and these somewhat casual portraits. It gives me such a nostalgic feeling. The photographs, presented together like this, create a really interesting contrast. Curator: Absolutely, and considering they lived through such tumultuous times, having these quiet, everyday moments captured is particularly meaningful. On top, we see Else amongst a field and it appears a distant building is nearby. Below is a portrait of her on a balcony with, the rooftop visible. Editor: The top photograph is striking, though the figure of Else blends almost with the field! It seems like she’s contemplating something serious. The lower image with the building is almost serene, she seems more relaxed, perhaps. It suggests an inner peace even during the hard circumstances of that time. Curator: Indeed. As the post-impressionism movement developed further in 1920s, people's intimate moments and environment of everyday life started becoming the popular subject to capture in photographs. It is indeed such quiet portrait. It's street photography. Editor: I see these images almost as glimpses into a story, pieced together from scraps of everyday life. What were her days like? Her hopes, her fears? And what are those faded blemishes on the page? They add an almost ghostlike quality to the photos, making us acutely aware of time passing. Curator: That’s a beautiful reading. Considering how political unrest affected so many Jewish families throughout Europe at the time, it is incredible that family photos have lasted throughout time. It creates such strong feelings. I think it’s easy to relate to. Editor: Well said, they serve as tender and moving moments between what are now historic figures that connect our experience with theirs across a century of distance and trauma. Curator: I’d have to agree; the vulnerability caught in the photographs themselves is particularly stunning. Editor: Me too. I have chills imagining myself in her shoes, standing at that exact spot on the balcony, looking out at Sofia.