Portret van een zittende vrouw met witte muts by Mozes Cohen

Portret van een zittende vrouw met witte muts 1860 - 1899

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photography, gelatin-silver-print

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portrait

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aged paper

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toned paper

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muted colour palette

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photography

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gelatin-silver-print

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realism

Dimensions height 83 mm, width 50 mm

Editor: So, here we have "Portret van een zittende vrouw met witte muts"—or, "Portrait of a Seated Woman with a White Bonnet." It's an undated gelatin silver print, somewhere between 1860 and 1899, by Mozes Cohen. What I find striking is how contained she appears, almost pressed into the frame... what stands out to you? Curator: Oh, I feel her constraint too. She’s seated, quite formally, within the confines of the image—a woman held captive, perhaps, not by literal bars, but by societal expectations. The toned paper itself evokes a sense of faded memory, like a half-forgotten dream. What stories do you think are etched onto her face, barely visible beneath that pristine white bonnet? I mean, does that bonnet offer comfort or suffocation? Editor: Suffocation is a strong word, but… I can see that. The high neckline, the way her hands are clasped… it's all very controlled. I wonder if she had any say in how she was portrayed. Curator: Precisely! Consider the cultural moment. Photography was gaining popularity, yes, but it also served as a tool for constructing identities. Who decided how she should be represented? Was it her? Or was it the photographer, reflecting the rigid ideals of the time? I often wonder about the gazes that never made it into these photographic moments. Were there giggles suppressed? Bold questions unasked? Editor: It’s interesting to think about the power dynamic between the photographer and the sitter, especially in that era. It’s more than just taking a picture; it’s about shaping a narrative. Curator: Exactly. And what remains unsaid, unseen, whispers just as loudly as what's right there on the surface. It makes me think about the masks we wear and the truths we keep hidden, even in our portraits. What have we both unearthed today? Editor: For me, a fresh perspective on portraiture as a curated performance, not just a captured likeness. Curator: Indeed. And maybe a reminder that behind every seemingly still image, there's a whole world of unspoken stories yearning to be told, or at least gently nudged.

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