Untitled (Trajan's Column, Base) c. 1857

Editor: We're looking at Robert MacPherson's silver print, "Untitled (Trajan's Column, Base)," from around 1857, currently housed here at the Art Institute of Chicago. It captures the base of the ancient Roman monument in stunning detail. I’m immediately drawn to the contrast between the rough, aged stone of the column and the soft, almost ethereal quality of the photographic print. What structural elements strike you in this composition? Curator: Formally, the photograph excels through its stark contrasts and textural juxtapositions. Note the emphasis on verticality through the implied continuation of the column beyond the frame, contrasted with the static, weighty base. The photographer’s use of light creates tonal gradations that articulate the carvings and inscriptions, imbuing the stone with a sculptural presence. This visual parsing reveals how the base anchors the column, literally and photographically. Do you see the subtle geometries at play? Editor: Yes, now that you point it out, I notice how MacPherson carefully positions the camera to emphasize the geometric shapes in the base, particularly how the rectangular blocks intersect. It adds a certain tension to the photograph. Curator: Precisely! These arrangements— the interplay of rectangular masses and carved surfaces, function independently to convey its meaning. MacPherson seems focused on communicating that complexity as it exists within the photograph itself. What meaning can you derive from this internal structure? Editor: I suppose, then, that MacPherson is highlighting the enduring structural integrity and complexity through composition alone? Curator: Indeed. This work reveals the potential for photography to highlight shape and texture while engaging the intellect. We learn much about the aesthetics of photography as an art medium and method, too. Editor: That's a fascinating perspective. Thanks, this gave me much to consider.