Gezicht op de San Marco te Venetië 1860 - 1870

Editor: So, here we have Paolo Salviati's "Gezicht op de San Marco te Venetië," a gelatin-silver print from between 1860 and 1870. It’s a straightforward view of St. Mark’s Basilica, but it feels a bit…staged, almost theatrical. What strikes you when you look at this image? Curator: I'm drawn to the power dynamics inherent in documenting such an iconic space. Consider the gaze—who is being centered here? A photographic print of St. Mark’s, made accessible during a time of shifting socio-political landscapes, isn't just a picture. It participates in constructing ideas around access, privilege, and cultural ownership. Who gets to possess this image, and what does that mean in the broader context of Italian national identity formation at that time? Editor: That’s a compelling point about ownership. How does the choice of photography, as opposed to painting, play into this? Curator: Exactly. Photography democratized image production in some ways, yet early photography studios were not equally accessible to everyone. Thinking intersectionally, what does this image say about class, about who could afford the time or money to participate, either as the photographer or as the consumer of these images of Venice? Editor: I hadn't considered that aspect. It challenges the initial impression of a simple, objective depiction. I thought it was merely a photograph of Venice. Curator: There’s nothing “merely” about it. These seemingly neutral depictions helped normalize a specific vision of Venice, likely catering to a certain demographic, which then reinforced particular socio-economic structures and left other voices unheard. Consider also: Who wasn’t included, and why? Editor: That reframes the photograph. I see how understanding its context adds layers of meaning. Curator: Precisely. It's a reminder to question the narratives we inherit and consider the voices often absent from historical records.