De Spree in Berlijn met in de verte de Alsenbrücke 1868 - 1870

Editor: Here we have "De Spree in Berlijn met in de verte de Alsenbrücke," taken between 1868 and 1870 by Johann Friedrich Stiehm, a gelatin silver print. I find the composition strikingly linear, with the river's edge and boats forming strong horizontal lines. What do you notice? Curator: Indeed. The interplay of horizontal and vertical elements is crucial here. Note how the horizontality of the river and embankment are punctuated by the bridge's arches, creating a visual rhythm. This contrast contributes to the picture's structural stability. Consider also the tonal gradations, the way Stiehm captures the luminosity of the sky and its reflection on the water. How does this manipulation of light affect the overall spatial composition? Editor: I suppose the reflected light flattens the image somewhat, emphasizing the two-dimensionality of the photograph, despite it being a representation of depth. The dark boats disrupt that flattening and give some scale and a sense of depth to it, as well. Curator: Precisely. The dark, almost opaque, shapes of the boats serve as visual anchors, interrupting the reflective plane and reasserting spatial depth. And what do you make of the repetition of forms – the bridge supports, the pilings along the bank? Editor: The repetition creates a sense of order and structure, almost a geometric abstraction within the realistic depiction of the cityscape. Curator: Precisely. The photograph thus achieves a delicate balance between realistic representation and formal organization. Its power resides not in its representational accuracy alone, but also in the artist's masterful manipulation of light, form, and space. The use of gelatin silver printing enables a high level of clarity and tonal range. Editor: So, it's the formal relationships within the photograph that give it its strength. I hadn't thought about it that way. Curator: That's correct, which is where the picture excels by creating and playing with those forms.