Portret van Anna Maria Strandberg bij een balustrade 1870 - 1885

Editor: So, this is "Portrait of Anna Maria Strandberg by a Balustrade" from the late 19th century, made using albumen print. It’s got a theatrical feel; she’s posed like an actress. What stands out to you when you look at this portrait? Curator: For me, it’s all about the process. Look closely at that albumen print. Each step - the coating, sensitizing, exposing, and developing - relied heavily on specific materials and darkroom practices. And consider Selma Jacobsson, the photographer, as a woman working within the heavily male-dominated photography studios. How much autonomy did she have over the subjects, materials, and the finished product? Editor: That's an interesting angle! I hadn’t thought about the level of control she had over it. So, it is more than just pressing a button. Curator: Absolutely. We must also remember how labour-intensive this type of photography was back then. The subject sitting still for long exposure times. And the processing itself, imagine the physical effort in a darkroom, mixing chemicals, manipulating the paper. What kind of wages would they be making? Are we seeing a staged performance of affluence and leisure that actually rested on exploited labour? Editor: I see what you mean! The photograph as a record of material conditions, not just artistic intention. What do you make of the objects and clothes depicted here? Curator: Let's examine that dress. The fabric, the style – those elements were determined by textile production, trade routes, fashion trends. They tell a story of material culture and economic forces. This type of object may now seem commonplace in a museum like the Rijks, but during that period that particular garment might have been available only to the elite class. How were similar things accessible to common people? Or, how were people using objects made with other cheaper resources? Editor: Thinking about the materiality definitely makes me rethink the photograph. Thanks for a completely new insight into the artistic work! Curator: Agreed. Looking at the tangible process really highlights what photographs are designed to conceal.