Monument en beuk voor Luther, Altenstein 1868 - 1890

Editor: This albumen print, titled "Monument en beuk voor Luther, Altenstein" by Hermann Selle, probably taken sometime between 1868 and 1890, gives off such a formal, reverential mood. The monument seems stark against the natural background. What do you see in this piece? Curator: It’s interesting to consider the Luther monument not just as a marker of religious history, but as a commentary on German identity at the time. Consider the rise of German nationalism in the 19th century; this monument could be read as an assertion of Protestant German heritage in a period of immense social and political change. Editor: I see what you mean! So it's not just about Luther the religious figure, but about the idea of Germanness itself? How would the natural landscape fit into that? Curator: Precisely. The German landscape—the Thuringian Forest in this case—was often used to construct notions of national romanticism and "blood and soil." By placing the Luther monument within it, Selle evokes a kind of 'naturalized' German identity. Editor: The framing, too, makes it almost seem like a stage. Like the trees and the fence are intentionally arranged to set up the monument. Curator: Good observation. It appears both staged and a document. And what do you make of the albumen print itself as the medium? Think about photography's role in constructing and disseminating these nationalistic narratives. Editor: The photo gives it an aura of objectivity, but the choices the photographer made—like composition— make it a subjective statement. Curator: Exactly. Understanding photography’s early role helps us see how seemingly neutral images are often powerful cultural statements. Considering that, what lasting questions does this image leave you with? Editor: I’m thinking now about the different ways landscapes and monuments are used to shape how we see ourselves, and how those can exclude certain groups of people in favor of others. Thanks for sharing this different point of view!