Portret van de architect Looymans, ten voeten uit, met een maquette van de door hem ontworpen Beurs van Antwerpen 1861

Editor: Here we have a photograph from 1861, "Portrait of the architect Looymans" by Joseph Dupont, showing Looymans in full figure with a model of his design for the Antwerp Stock Exchange. The first thing that strikes me is the emphasis on architecture and civic pride in a modernizing Antwerp. What's your read on it? Curator: Indeed. Think about the time: photography was relatively new, yet already deployed to cement the image of powerful individuals, especially those shaping urban landscapes. This portrait, a daguerreotype, presents Looymans not merely as an individual, but as a symbol of progress and burgeoning capitalism. What statement do you think that the inclusion of the model makes? Editor: I imagine that this model is supposed to speak of progress and innovation and shows Looymans to be a figure behind these ideals. Given this photograph was taken in 1861, what are some things to consider about Antwerp's historical standing at the time? Curator: The image participates in creating the "myth" of progress, characteristic of that moment. Dupont uses the relatively new medium of photography to visually express what the middle-class, merchants of Antwerp aspire to be: modern and connected with global capital. This image projects Antwerp’s self-image. It’s crucial to remember photography isn’t simply a reflection of reality but a construct. The staging, Looymans’ pose, all contribute to this narrative. This image helps cement Looymans' reputation. Does knowing that change your perception of the photograph at all? Editor: That definitely changes the way I see this portrait. Now, the photograph appears like a carefully crafted statement about Antwerp's identity rather than just a record of its architect and his work. Thanks for pointing that out. Curator: Precisely. And that awareness—of how images are produced and circulated—is vital when engaging with any work of art, historical or contemporary.