Portret van de beeldhouwer Jan Jaak Anton Van Arendonck, ten voeten uit 1861

Editor: This is a portrait, a daguerreotype actually, by Joseph Dupont, made in 1861. It's titled "Portret van de beeldhouwer Jan Jaak Anton Van Arendonck, ten voeten uit" or, translated, "Portrait of the sculptor Jan Jaak Anton Van Arendonck, full length." The figure seems quite formal and contained. How do you interpret this work? Curator: In examining this daguerreotype, I am drawn to consider what the holding of a hat signified in this era. How does it signal both availability and the demarcation of public versus private selves? He holds his hat; he is pausing for a moment, holding back his persona. Editor: That’s interesting, the hat as a sort of… barrier. I hadn't considered it that way. Curator: And note the hand tucked within his coat, a traditional sign of introspection, hiding, protecting… even guarding secrets. Look too at the table draped with what appears to be highly patterned fabric, a sort of scrim that hides the form, disguises what's underneath. This also introduces another layer of symbolism of hiding, illusion, ornamentation versus raw material. How does the photographer employ ornament and design to deepen our understanding of this artist? Editor: I see what you mean, the details add layers. He is standing on a rug with swirling motifs, as well. Does that rug add another layer of symbolism? Curator: Absolutely! Think of the psychological weight of being grounded or un-grounded. The subject stands atop a vortex of floral forms, firmly rooted yet perhaps caught in the currents of creativity. The gaze itself... a window into his psyche? What feelings do his eyes evoke for you? Editor: It's more complex than I initially thought. I am also pondering this: is the sculpture also trapped between his roles? The cultural expectations, the hat. Curator: Yes, fascinating! Each object chosen, each pose struck contributes to our evolving perception of Van Arendonck, the sculptor and the man. The photograph is so dense, packed with all the hopes and fears of representation itself.