La Voulte by Edouard Baldus

print, photography, albumen-print

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16_19th-century

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print

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landscape

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photography

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cityscape

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albumen-print

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realism

Dimensions Image: 26.3 x 41.7 cm (10 3/8 x 16 7/16 in.) left Image: 26.3 x 41.4 cm (10 3/8 x 16 5/16 in.) right Mount: 46 x 121 cm (18 1/8 x 47 5/8 in.)

Curator: What strikes me first about Edouard Baldus’s “La Voulte,” taken in 1861, is its melancholic stillness, despite capturing a moment of intense construction. The subdued palette contributes to this feeling of faded grandeur, don't you think? Editor: It's sepia tones that highlight a story of construction materials and progress! The albumen print shows us wood scaffolding. The textures create an inventory: wood piles along the bank, tools to the right. It's all very methodical, revealing a hidden human process. Curator: Yes, the process is crucial, as is the setting. Consider the name “La Voulte” – it hints at turning, bending. What if this implies more than geographical feature? It seems also symbolic to what lies ahead – societal changes. Editor: "Bending" perhaps like the trees to the wind, or to build bridges from scratch! Labor has to be tough, right? And notice the detail captured. You can practically smell the river and hear the creaking of the wood. The materiality speaks to hard labor that would be taken for granted soon after. Curator: Absolutely. Look closely, it appears that the image lacks people. Their presence is strongly inferred through their absence! I cannot stop feeling this speaks to fragility – progress relies entirely upon invisible human endeavor, forever forgotten. Editor: Invisible until images like these make things visible. The choice of photography over other mediums is important here; photography claims documentary “truth”. It doesn’t mean that photography doesn’t involve lots of construction work in itself, it reminds you to watch progress take place! It emphasizes how humans, materials, tools, all interact. Curator: Exactly, the materiality is also its symbolism! A continuous record of effort but a constant reminder of mortality – all elements return to the soil. Editor: I like that. Materiality and temporality are related as reminders! Curator: Thinking of cultural memory, it reminds us of this ongoing dance: building up and breaking down. Editor: And seeing the tangible means behind monumental changes... Well, that transforms our sense of those shifts, doesn't it?

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