Henry. Émile. (auteur de l'attentat de l'Hotel St-Lazare) 1890 - 1894

Editor: Here we have Alphonse Bertillon's photograph of Émile Henry, taken sometime between 1890 and 1894. It’s a rather muted portrait, with an almost sepia quality. It makes me think of a police mugshot, capturing a somber moment. What strikes you about the visual aspects of this image? Curator: Primarily, the photograph excels as an evidentiary object precisely because of its commitment to neutrality. Note the even lighting, minimizing dramatic shadow play that might suggest character. The subject is centered, offering a clear, unadorned view. The gaze, averted but not obscured, provides visual access while maintaining a certain detachment. It's in the careful management of these formal elements that the photograph achieves its purpose. Editor: So the composition itself contributes to its meaning and purpose? Curator: Precisely. Observe how the frame is tightly cropped, focusing attention solely on the face and upper torso. This deliberate restriction eliminates contextual details, forcing the viewer to concentrate on the subject’s features. Do you notice any signs of an external narrative being imposed onto the subject’s face? Editor: Not really, aside from the number inscribed on the image... Curator: It's more clinical than artistic, focusing on documentation over aesthetic expression. Its starkness leaves an impression, doesn't it? Editor: It certainly does. I had initially seen only the historical context, but looking at it formally, the impact lies in its restraint and factual nature. Curator: Indeed. By analyzing the formal strategies, we unveil the photograph's intended functionality.