Post-mortemportret van een onbekende geestelijke 1863 - 1864

Editor: Here we have a fascinating photograph from 1863-1864, "Post-mortem portrait of an unknown clergyman" by Antoni Verryck-Fleetwood. It’s rather haunting, with a kind of faded, ethereal quality. What strikes you most about it? Curator: Ah, a memento mori rendered in silver. The Victorians were quite fond of capturing the finality of life, weren't they? I think what grabs me is the… stillness. The absolute, unsettling stillness. It’s as if the photographer is whispering, "Remember, you too, will become this." Do you get that same shiver down your spine, or is that just me? Editor: I do, a little! There’s something intensely personal about it, despite the clergyman being unknown. The clarity is really fascinating, given the time it was taken, even if a bit eerie, you are right. What does that style choice suggest about the picture's intended audience, do you think? Curator: That's a terrific question. This wouldn’t have been for public consumption, would it? It would have been very common to have post mortem photographs done, this intimate and often deeply personal, remembrance strictly for the immediate family. One could hang the image for themselves, hidden from society to ensure they kept the memory of their loved one close. Don’t you think? Editor: Absolutely, you can tell there is not much extravagance to be had here, just raw feelings of mourning. Well, I’ve certainly gained a new appreciation for the cultural context of Victorian photography. It’s a bit darker than I expected! Curator: Isn't it always? Art reflecting reality and giving us a deeper meaning in the simplest and saddest of times. Always wonderful speaking to a developing artist!