Portret van een man met hoge hoed 1850 - 1868

Curator: The photographic print before us, attributed to Alonso Martinez y Hermano and titled “Portret van een man met hoge hoed”, offers a window into the mid-19th century, dating from about 1850 to 1868. What strikes you initially about this gelatin-silver print? Editor: The tonality, it’s quite subdued and somber. The image seems to flatten the figure; it almost lacks depth despite the details in his clothing. And that vertical emphasis, from the hat he holds down to his feet, feels very…formal. Curator: That formality certainly reflects the societal norms of portraiture at the time. Photography studios were becoming increasingly popular, offering a more accessible alternative to painted portraits, but the desire to project a certain image of respectability remained. Consider also the burgeoning middle class. Editor: The lighting also seems quite considered. See how it falls primarily on the man's face, yet his eyes appear to be slightly lost in the shadows, almost avoiding direct contact with the viewer. It's not a confrontational gaze. Curator: Indeed, the studio setting and the subject's attire – the top hat, the suit – all signal his status and the occasion for the portrait. The photograph becomes an object of social record, communicating ambition. Editor: And the drape in the background? It has a certain artifice—more prop than atmospheric element, creating, if you will, a stage. It looks theatrical. Curator: These were very calculated decisions. Photography studios often utilized props to evoke classical painting traditions and align their craft with the established arts. This print offers an important visual artifact of nineteenth-century portraiture and societal values. Editor: For me, observing this play of light and the calculated arrangement is revealing about photography as an emergent art. Curator: Agreed, thank you. It makes you consider the transition to modernity.