Elf borden en twee bekers in een vitrinekast c. 1875 - 1900

Editor: This albumen print by Médéric Mieusement, dating back to the late 19th century, presents an array of plates and cups displayed in a vitrine. I’m drawn to the repetition of circular forms and the monochromatic palette. What strikes you about the composition? Curator: The strict geometry, the rigid ordering, compels. Nine plates, and two cups punctuating the composition, establish a clear structure. Consider how the variations in the painted designs upon each plate invite the eye to linger, while their formal arrangement, mirroring the structure of display cases itself, emphasizes symmetry and balance. What visual cues indicate depth in what appears to be a two-dimensional photographic study? Editor: Well, there's a subtle gradation in tone across the shelving that indicates depth. Also, the slightly blurred edges of some objects suggest the limitations of the camera and lens, therefore reinforcing the perspective. Could you elaborate on the relationship between form and function here? Curator: The photographic form serves primarily to document and catalogue the "Musée de Cluny’s" collection. The texture and the material finish are almost entirely absent, yet we're presented with meticulously-drawn ornamentation that originally would’ve served both decorative and utilitarian roles. Consider how these artifacts would’ve appeared in the hands of their users, and how this photograph captures them, stilled, suspended, like butterflies pinned in an entomological collection. Is there an aesthetic language specific to display? Editor: I suppose so! I never thought of a display case having its own formal structure worthy of exploration. I am inspired to observe photographic methods of documentation using semiotic and structuralist methods. Curator: Indeed. The careful calibration between subject and display can produce very powerful art.