Twintig portretten van Aline Prelly, Yvonne Lévy, la Belle Feridjée en Mademoiselle Dandeville before 1892

This set of photographic portraits was created by Nadar, likely in the late 19th century. It presents us with a series of faces, each holding a unique gaze, yet collectively forming a tableau of types, a taxonomy of feminine representation. Observe how the women are portrayed within the rigid structure of the grid, a symbol of modernity's impulse to categorize and control. This arrangement echoes earlier traditions, such as the display of saints or heroes in religious art, but here, the subjects are secular, their identities tied to the burgeoning world of theatre and spectacle. Consider the hats worn by la Belle Feridjée, in the tradition of commedia dell'arte, a gesture towards theatrical disguise, yet also revealing the performance of identity. These hats, reminiscent of Hermes' winged cap, suggest not only cunning but also the transmission of messages, the currency of the modern age. Such symbolism transcends mere portraiture, delving into the collective consciousness of the era, where identity is both celebrated and commodified. This intricate dance between revelation and concealment leaves us contemplating the psychological landscape of representation, where the surface mirrors deeper currents of desire and anxiety.