Portret van mevrouw van der Mey before 1895

Here is an undated portrait of Mrs. van der Mey by Max Büttinghausen. The photograph’s sepia tones create a subdued yet intimate atmosphere. The composition is classically structured, focusing on the subject’s upper body. Notice how the lines of her clothing—the high collar, the structured bodice—create a framework that contains and defines her form. The materiality of the photograph itself, its smooth surface and sharp detail, invite us to consider its role as a signifier. Roland Barthes might argue that such a portrait operates as a "certificate of presence," a testament to the existence of the subject in a specific moment. Yet, the very act of framing, of selecting and capturing an image, also introduces a layer of artifice. Consider the interplay between visibility and concealment. What is revealed, and what remains hidden? The photograph, as a medium, engages with broader philosophical questions about representation, perception, and the construction of identity. Each element within the frame serves as a sign, contributing to a complex semiotic system that invites ongoing interpretation and re-interpretation.