Portret van een staande jonge vrouw, in zwart gekleed met witte zakdoek in de hand 1880 - 1920

Editor: This is a photograph from Atelier Göta, titled 'Portret van een staande jonge vrouw, in zwart gekleed met witte zakdoek in de hand', dating between 1880 and 1920. The woman's somber attire and the faded tones give it a rather serious, almost melancholy feel. As a historian, what details stand out to you about this portrait? Curator: The societal implications of photography, specifically portraiture, during this period are fascinating. The studio portrait became a way for the burgeoning middle class to emulate the aristocracy and assert their social standing. The woman's clothing is undoubtedly intentional. What might the act of commissioning such a portrait have signified? Editor: It feels like she’s trying to present a respectable image of herself, given that formal attire and the studio setting suggested respectability and elevated status in that era. Curator: Precisely! Consider also how studios like Atelier Göta democratized access to portraiture. Who had the means to commission this portrait? And how might it have functioned within her family or community? The details of her dress – the black fabric, the lace, even the white handkerchief – tell a story of the socio-economic context, dictating mourning or sobriety, with class defining material and stylistic availability. It wasn’t just about visual representation, it was a declaration of identity within a very specific social framework. Editor: So, the portrait is much more than just an image. It’s a record of social mobility and a statement of identity? I hadn’t considered the studio's role in that. Curator: Indeed. By understanding these factors, we see the photograph not just as art but as a historical document shaped by social forces. Editor: That’s a great perspective! I'll definitely be looking at portraits with a more critical and social eye now. Thanks!