Untitled [portrait of an unidentified actress] 1858 - 1869

Editor: This is a gelatin-silver print portrait from sometime between 1858 and 1869 by Jeremiah Gurney, currently residing at the Minneapolis Institute of Art. It feels very posed and deliberate; the dress and chair fabric create interesting textures, but I'm not sure what to make of it overall. What are your impressions? Curator: Notice how the composition relies on a calculated arrangement of forms. The subject’s body creates a diagonal line, countered by the vertical drape and the angle of the chair. Consider the use of light and shadow, not to create a sense of depth, but to accentuate the materiality of the fabrics. It's an exquisite example of how photographic portraits explore shape, form, and texture, rather than aiming for simple likeness. Editor: So, you are suggesting it's more about the arrangements of shapes and material qualities, rather than expressing likeness or personality? The formal qualities create an experience of its own? Curator: Precisely. The emotional content is almost secondary. The photograph directs our gaze toward the play of textures—the velvet chair, the silk dress—and the geometry they form together. It showcases a fascination with photographic technology to record detail and arrangement. How might different cropping or posing alter the experience of form, line and texture here? Editor: That’s a very different way of looking at a portrait! I was initially focused on the sitter, but seeing it as a collection of textures and shapes changes my understanding. Curator: Exactly! Reflect on how our attention to the visual language opens avenues for critical contemplation and fresh appreciation. Editor: This definitely gives me a new perspective when looking at photography from this period. I'll be considering how shapes and composition enhance photography going forward.