Miss Leclerc 1869 - 1874

Curator: This daguerreotype, "Miss Leclerc," was captured sometime between 1869 and 1874 by Jeremiah Gurney. It's part of the collection here at the Minneapolis Institute of Art. What catches your eye first? Editor: The gentle sadness in her eyes. And the sepia tones amplify the wistfulness. It feels like peering into a cherished memory fading at the edges, don't you think? Curator: Absolutely. In terms of iconography, I think the oval brooch at her collar hints at themes of eternity or unity. Ovals, visually, often represent wholeness and continuity. Perhaps it was a family heirloom, a symbol of her lineage. Editor: Good call! The brooch looks a bit like intertwined serpents too, which links to the symbol of Ouroboros. Its also drawing the eyes down to those very rigid buttons that might imply an order or constraint. Curator: Very insightful. Also, this portrait speaks to the rising popularity of photography in the mid-19th century. Prior to this, only the very wealthy could afford to have their likeness preserved in a painting. Editor: True. These photographs became intimate stand-ins for distant family. I imagine the pride someone felt receiving such a tangible connection back then. Did you ever send photos in the post? I once sent a self-portrait to my brother and...well... Curator: Haha! Okay! Beyond their practical purpose, these early photographs reveal so much about the sitter's social status and aspirations through clothing, hairstyles and pose. Editor: Which reminds me, the tight, upswept hairstyle must have taken quite a while. Its a good metaphor, it seems: holding yourself up, proper. I'd also expect they didn't take smiling for granted in those days, did they? Its something to behold. Curator: I suppose a daguerrotype, a true representation, feels heavier, truer, because it’s not ephemeral or digital. There is real emotion and detail imprinted, from the past. Editor: Like holding a shadow in your hand, trying to understand the sun that cast it. Thank you, Miss Leclerc!