Plate Number 95. Ascending stairs with a basin in hands by Eadweard Muybridge

Plate Number 95. Ascending stairs with a basin in hands 1887

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print, photography, gelatin-silver-print

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print

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impressionism

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sculpture

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photography

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gelatin-silver-print

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nude

Dimensions image: 16.95 × 43.3 cm (6 11/16 × 17 1/16 in.) sheet: 47.4 × 60.2 cm (18 11/16 × 23 11/16 in.)

Editor: This is Plate Number 95, "Ascending stairs with a basin in hands," a gelatin silver print from 1887 by Eadweard Muybridge. What strikes me immediately is the grid format and how it captures a sense of motion. How do you interpret this work in terms of its composition and the choices made by Muybridge? Curator: The power here lies precisely in the structural juxtaposition. Muybridge meticulously fragments movement into discrete units, arranged in a grid that reveals the underlying mechanics of human locomotion. Consider how the rigid structure contrasts with the flowing lines of the figure's dress and the arc of her arm. This tension highlights the artist's project: an almost scientific deconstruction of organic motion. What meaning emerges from this interplay between the organic and the grid? Editor: That's a great question. It's as if he is trying to dissect a natural process into something understandable, almost mechanical. Does the basin the woman carries have significance or symbolic value within this structural framework? Curator: I believe the basin is another variable – like an experimental control. It complicates the lines of movement and introduces new arcs and weights into the sequence, thus enhancing the sense of depth in the study. It accentuates how body mechanics deal with external forces. Ultimately, it's an artistic rendering, which, viewed analytically, dissects reality into comprehensible data. It provokes a semiotic inquiry: what underlying messages does the structure encode about our perceptions of motion and the passage of time? Editor: It's fascinating to see how the piece's aesthetic presentation underscores an analytic intention. Thank you. I am leaving with new ideas about how structure and the breakdown of action informs the nature of experience. Curator: And I am reminded that this meticulous formal analysis doesn’t exist in a vacuum; Muybridge’s work has implications that touch many aspects of art and our broader culture. A truly impactful creation!

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