Vier foto's van de Bagni della Regina Giovanna en het klooster San Francesco te Sorrento by Norbert van den (1901-1972) Berg

Vier foto's van de Bagni della Regina Giovanna en het klooster San Francesco te Sorrento 1950

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Dimensions height 232 mm, width 336 mm

Curator: This page presents a collection of four photographs taken around Sorrento in 1950 by Norbert van den Berg. Immediately, they evoke a mood of somber tranquility, almost romantic in their black-and-white tones. Editor: Yes, and look at how they’re arranged, almost like a document. We see two different places represented: the Bagni della Regina Giovanna, with its evocative, almost archaic name, and what I think translates to, "Cloister of San Francesco." Curator: Exactly. Note the architectural composition; the cloisters, depicted in two photographs, showcase classical arches, repetition as a design element that visually organizes the sacred spaces. What is fascinating is the almost classical symbolism contrasted with the rugged coastline imagery. Editor: Interesting that you use the term "rugged," I was struck by the photographs of the rocky cove, suggesting raw, natural power and the slow violence of geological forces shaping a landscape that has shaped the history of its population. Do you think the artist placed the photos purposefully next to the cloister ones to contrast natural versus constructed? Curator: That tension speaks to the material and historical relationship between the landscapes' usefulness and people's interpretation. The carefully framed images give weight to what the architecture might signify to different peoples through use and modification through the ages. You can see clear light/dark distinction between these landscapes, something deliberate for effect. Editor: So the materiality almost underlines an ideological divide; culture and its architecture compared against a wild nature that existed before civilization, and will exist afterwards. But that is only furthered by the title on the page that is, “Where sinuous shores cast up seaweed.” A very telling hand-written notation. Curator: Good point; I can agree. The juxtaposition, then, underscores not just material differences, but perhaps the interplay of societal aspiration set against raw elemental forces shaping our history. A fascinating arrangement with all the elements combined, in what otherwise, would appear to be a mundane photo album page. Editor: Indeed. Each photograph adds another layer, and in doing so allows the audience to see, as you stated, materiality with new, thoughtful meaning, creating something poignant and revealing.

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