Gipsmodellen voor beeldhouwwerken op het Palais du Louvre: links "L'Art grec" door Gabriel Bernard Seurre en rechts "La Pierre" door Auguste Poitevin c. 1855 - 1857

Editor: So, here we have Edouard Baldus' photograph, "Gipsmodellen voor beeldhouwwerken op het Palais du Louvre," taken sometime between 1855 and 1857. It features two plaster models intended for sculptures, captured in gelatin silver print. There's almost a playful quality to it, a study of forms, frozen in monochrome... What strikes you about this piece? Curator: You know, it tickles my fancy how Baldus captured these stoic sculptures with such a modern, almost cheeky eye. Think about it: photography was still finding its footing, and here he is, documenting Neoclassical ideals meant to inspire awe, in a way that almost demystifies them. The left one, "L'Art grec," seems to pose, while "La Pierre," huddled together, could almost be gossiping cherubs caught mid-prank. Do you get that vibe too, or is it just my caffeine kicking in? Editor: I see what you mean! It's that contrast between the grand sculptures and the unassuming presentation. Was Baldus trying to say something about the role of art in society, perhaps? Curator: Precisely! He may be alluding to a changing view on art. Before, sculpture was larger than life. Here, though, he shrinks them down, presents them divorced from their intended environment, which maybe suggests a growing accessibility. It is no longer up on a pedestal– or maybe that's just me reading into things…! What are your thoughts? Editor: Well, it definitely adds another layer to how I perceive it. I initially just saw two sculptures innocently put next to each other, but understanding it in a broader social context like this, is so cool! Curator: Glad you feel so. Always dig a little deeper, that's what I always say! You might unearth new riches, new thoughts! I like it.