Tour de Saint-Ouen, Rouen 1852 - 1854

Editor: So, this gelatin-silver print, “Tour de Saint-Ouen, Rouen” by Edmond Bacot, dating from the 1850s... It’s striking how detailed and imposing the architecture appears. What particularly jumps out at you about this photograph, considering the social and cultural context in which it was made? Curator: What I find compelling is the explicit attention to a specific monument at a time when photography was just solidifying its place in documenting the world. Think about it: prior to this, representations of architecture relied on engravings or drawings. Photography, even in its nascent stages, offered a perceived level of objectivity. What does it mean to focus on a single church tower during this period of rapid urbanization and industrialization? Editor: That's a really interesting point about objectivity. It feels almost like an attempt to preserve or monumentalize this specific aspect of Rouen, perhaps even in response to these larger social shifts you're mentioning. Curator: Precisely! And it's crucial to consider *who* had access to photography. Was it accessible to the working class reshaping the urban landscape, or primarily to those within the bourgeoisie who could afford these new technologies? How did photographic images circulate and influence perceptions of Rouen’s urban identity in this era? Editor: It really changes how you view this image when thinking about it as more than just a representation of architecture, and more a reflection of the photographer’s social position and intentions. I hadn't thought about it like that. Curator: That’s the power of art history – prompting us to consider the forces at play behind what seems like a straightforward image. We learn to examine the image within its context, broadening our understanding. Editor: Thanks, that provides valuable insights.