Reclus. Paul. Pas d'informations sur la fiche. 23/12/93 1893

Curator: This portrait is entitled "Reclus. Paul. Pas d'informations sur la fiche. 23/12/93," captured by Alphonse Bertillon in 1893. The piece, a gelatin silver print, now resides here at the Metropolitan Museum. Editor: It strikes me as a very earnest image, doesn't it? The man’s gaze is direct and unflinching, although I can't quite place his expression. There’s a subtle vulnerability present. Curator: It's important to consider Bertillon's place in the history of photography. He was, first and foremost, a criminologist. His use of photography was deeply tied to his system of identification – what we now know as Bertillonage – intended to categorize and track individuals, particularly within the criminal justice system. Editor: So this is part of a visual record, potentially used for classification... almost clinical. I wonder about Reclus's role, his knowledge of this process. Is he a subject or a collaborator? His attire seems purposeful, suggesting he’s presenting himself in a certain way. Curator: Precisely. Reclus was photographed, presumably, to classify him. Think about how portraiture has historically been linked to power and social status. Here, the context is very different. This portrait moves beyond a representation; it’s part of a wider method, a specific process and socio-political objective tied to identity, race, and control. Editor: The use of photography for social control... that shifts the feeling of the image entirely. I initially saw sincerity; now, I'm considering how easily the gaze can be manipulated to fit a certain narrative, perhaps one of deviancy or otherness. And yet, the image retains a powerful intimacy, as Reclus becomes an unwilling participant. Curator: Indeed. Considering this context, analyzing the subject’s expression and posture in relation to Bertillon’s goal, it really becomes much deeper than a simple portrait. It's an interesting intersection of art, science, and power dynamics that continue to shape how we perceive identity today. Editor: Thank you. Looking at this image now, knowing more about Bertillon’s techniques, my perception is changed. It becomes a visual echo of complex historical and political concerns. Curator: Yes, precisely that resonance – it reminds us that art never exists in a vacuum.