Portret van een zittende man 1860 - 1900

Editor: Here we have a gelatin silver print from between 1860 and 1900 by Léon Rosse, titled "Portret van een zittende man"—Portrait of a seated man. I am struck by how… still everything seems, almost like a wax figure. What do you read in this photographic portrait? Curator: Isn't it remarkable how these early photographs seem to capture something beyond the surface? I see a certain gravity in his gaze, wouldn’t you agree? But also, perhaps, a hint of weariness, or is it wisdom? The way the light falls…it reminds me of Rembrandt, you know, how he illuminated the soul. But let’s consider the context. This would have been quite a formal affair – sitting for a photograph, it's not just an instagram selfie. The clothes, the posture... how does that formality speak to you? Editor: It makes me think about what the sitter wanted to project. Respectability, maybe? It feels very staged. But also there is something very real in his face. It seems like this was his 'Sunday best', he wears it very intentionally. Curator: Exactly! They controlled every part of that scene. It's interesting that we think about "realism", when portraits like these involved so much presentation. Think of that sepia toning... It adds such an atmosphere. What stories might he have? Who did he love? We see the careful attempt at dignity, and in the imperfections, we also can glimpse something much more human. I see both presence, and the slow march of time etched onto that face, don’t you think? It makes one feel grateful. Editor: Definitely. Seeing that stillness really opens up so many questions. This wasn't just about a likeness; it's a whole story waiting to be told. Curator: Yes! It makes the past suddenly feel so very close, doesn't it? And that’s the magic, I think.