Mlle Rousseau 1863

Editor: Here we see a work entitled "Mlle Rousseau," an albumen print dating to 1863 by André-Adolphe-Eugène Disdéri, currently residing at the Metropolitan Museum of Art. I’m struck by the repetitive, almost sequential nature of the poses. What are your thoughts on this visual arrangement? Curator: It is fascinating. Consider the careful arrangement of these cartes de visite. Disdéri uses the photographic medium, particularly the multiple exposures and the serial format, to explore movement and representation. We might consider this a proto-cinematic study, breaking down a single pose into component parts. Note the variance in the sitter’s gaze and hand placement. Do those compositional elements convey meaning? Editor: Possibly! There’s definitely a narrative hinted at. Are the columns and chair important in this composition, or are they simple conventions of portraiture at the time? Curator: The column introduces a classical element, elevating the sitter, while the chair allows for the modulation of the pose and introduction of lines and form in conjunction with her dress, and as negative space between them. The eye is encouraged to read them equally, rather than subordinate them as background. Editor: So, you're less concerned with who Mlle. Rousseau *is* and more focused on how Disdéri composed this photographic sequence. I see what you mean now about dissecting a single pose through the strategic use of repetition. Curator: Precisely. The emphasis resides within the relationships established by line, form, and the rhythm of repeating motifs. Editor: Thanks; this really gives me a new way to interpret photography! Curator: A close examination of the formal elements always yields fresh insights.