Taglione 1857 - 1858

This is André-Adolphe-Eugène Disdéri's photograph "Taglione," a remarkable early example of serial portraiture. The composition, arranged in a grid, presents multiple views of the subjects, each pose carefully staged. The limited tonal range of the sepia print flattens the image, emphasizing the constructed nature of the photographic space. Disdéri's innovative use of the carte-de-visite format allowed for mass production, democratizing portraiture. Yet, this seriality also raises questions about identity and representation. The subjects, framed by neoclassical props, appear both individualized and standardized, caught between the desire for unique expression and the constraints of social convention. Each view offers a slightly different angle, yet the repetition underscores the performative aspect of posing for a camera. Ultimately, the photograph destabilizes the idea of a singular, fixed identity. Disdéri’s “Taglione” uses the reproducibility of photography to explore the fluid boundaries between public image and private self, challenging us to consider how identity is constructed through representation.