Exterieur van de Sint-Gereonskerk te Keulen c. 1860 - 1870

Editor: This gelatin-silver print, "Exterieur van de Sint-Gereonskerk te Keulen," taken by Anselm Schmitz around the 1860s-1870s, really captures the monumentality of the church. The light is diffused and gives it a soft, almost dreamlike quality. What historical context can you provide to help us understand this cityscape better? Curator: Well, consider the power of institutions at that time. The romanticism in the photography reflects a deep nostalgia for the medieval past and a rise in nationalist sentiments. This image wasn't just documentation; it's also about shaping a visual narrative, about reinforcing ideas of cultural heritage through its presentation in galleries. How does framing this within Romanticism alter your first reaction? Editor: I suppose that makes the monumentality less about objective reality and more about fostering a sense of national pride. I initially saw a straightforward cityscape. Curator: Exactly. Furthermore, the distribution method matters too! As it was often circulated as a stereo card it turns private contemplation into a national monument everyone now has access to in their own home. How does considering these images as mass-produced affect the experience? Editor: That it takes the location depicted and transforms it from local pride to a universal ideal. This image’s public accessibility transforms into part of constructing a common national narrative. It becomes part of constructing common national narratives. Thanks for expanding my understanding! Curator: And thinking about that circulation reveals much about photography’s evolving role within larger society.