[Hunters Stalking a Deer] 1857

Editor: So, here we have Horatio Ross’s "[Hunters Stalking a Deer]" from 1857, a gelatin silver print currently residing at the Met. It feels...staged, almost like a tableau vivant, yet unsettling because the deer is clearly the subject and, judging by the title, unaware of its peril. What do you make of it? Curator: It's a fascinating example of early photography's relationship to both art and societal power structures. How do you think the rise of photography impacted established genres like history painting or portraiture? Editor: I suppose it democratized image-making to a certain extent, becoming more accessible than painting, but did that also shift who controlled representation? Curator: Precisely. Before photography, depicting scenes like hunts was often a marker of aristocratic privilege. Photography allowed a broader segment of society to engage with such imagery, both as producers and consumers. Notice how the hunters are relegated to the background, almost like spectators. Do you think this was intentional, a commentary perhaps? Editor: Maybe? Or maybe it reflects a Victorian romanticism—elevating the animal within the landscape, placing man in a secondary role. Curator: That's certainly part of it. But consider this: photography, particularly hunting photography, also became a tool of empire, documenting the 'conquest' of nature and exotic landscapes, often reinforcing colonial hierarchies. Editor: So, this seemingly pastoral image carries within it a complex interplay of social class, shifting artistic hierarchies, and even imperial ambitions? Curator: Exactly. It is never "just" a photograph. Editor: That’s really made me think about how we read even seemingly straightforward images. I appreciate your insight into the wider socio-political implications within the work!