Gezicht op de Kapelbrug te Luzern before 1895

Editor: This is "Gezicht op de Kapelbrug te Luzern" by Giorgio Sommer, made before 1895. It’s an albumen print photograph housed here at the Rijksmuseum. It’s really serene… almost too still. What's your read on it? Curator: The stillness you perceive points to a particular kind of engagement between photography, tourism, and the construction of national identity in the late 19th century. The Kapelbrug, or Chapel Bridge, was, and still is, a major tourist attraction. Sommer's photograph, reproduced and sold widely as a souvenir, played a role in defining Switzerland as a picturesque, almost timeless, destination. What kind of social function do you think these images performed? Editor: Hmm, so it’s more than just a pretty picture, it's nation-building, almost? By showcasing these postcard-perfect scenes, it’s reinforcing an ideal of Swiss identity for both tourists and the Swiss themselves. It's interesting that it’s labeled "historical photography" in the museum’s metadata. Does it mean that now we can use this work to look into its contemporary socio-political context? Curator: Precisely! The "historical" aspect invites us to consider how the image participated in shaping cultural narratives and power structures. The choice to depict the bridge without visible human activity further contributes to this sense of timelessness, which erases the complexities of daily life and potentially idealizes the nation’s image. Editor: I see your point. It’s kind of like a stage set waiting for actors who never arrive, cementing this idea of Switzerland. I will never be able to see a picture from this time without this lens again. Thanks. Curator: Exactly. Now consider how institutions like museums, by displaying and categorizing works, contribute to this ongoing process of constructing meaning and historical narrative. It's all intertwined, isn’t it?