Untitled [trees c. 1904

Editor: Here we have an untitled photograph of trees, likely from around 1904, by William J. Mullins. It’s a gelatin-silver print on paper, and I'm immediately struck by its hazy, dreamlike quality. What elements jump out at you, and how might you interpret this work? Curator: The historical context of photography at the turn of the century is key. Pictorialism, with its emphasis on artistic effect, was directly challenging the perceived objectivity of photography. How do you see Mullins positioning himself within this debate through his choice of subject and technique? Editor: Well, it seems like he’s really embracing that artistic license. The focus is soft, and the tones are muted, almost painterly, so perhaps the natural subject has been arranged carefully to depict an impression, an idea, a scene. Curator: Precisely. Mullins, working within Pictorialism, participated in elevating photography to the level of fine art. By blurring the lines between photography and painting, these artists gained institutional recognition and were exhibited alongside paintings in salons. Editor: So, in a way, he was engaging in a kind of visual politics, challenging existing hierarchies within the art world? Curator: Absolutely! Mullins’ work represents an important moment when photographic societies were emerging and advocating for the artistic merit of photography, and for its recognition alongside painting and sculpture. Does knowing that make you see anything differently? Editor: Definitely. I see a strategic use of aesthetics for professional and cultural mobility, rather than simply an appreciation of nature! That makes me wonder about other artforms also breaking away from established art movements at the time, to reflect new ideas and tastes in a changing social landscape. Curator: Exactly. Recognizing this intention changes how we perceive these landscapes, I think.