Tenerife c. 1860 - 1915

Editor: Here we have Jordão da Luz Perestrello’s photograph, “Tenerife,” dating circa 1860 to 1915. It appears to be a landscape photograph, showcasing the island, using a monochromatic palette. It evokes a sense of stillness. What elements jump out at you? Curator: Immediately, I’m drawn to the formal arrangement. Perestrello segments the scene into three distinct panels, and there is clear emphasis on the interplay between horizontal and vertical lines. Notice the mountains mimicking the sea's horizontal expanse, bisected only by the few masts. Editor: The segmentation does feel a little odd; why not just take one picture? Curator: Precisely! It calls attention to the medium itself. Consider how this triptych form compels us to visually piece together a singular image. We must engage with the construction of the photograph rather than passively receiving a straightforward representation. Look how the tonality of the water interacts from left to right panel. Editor: Ah, I see, it's not trying to hide the fact it is a photograph or collection of photographs. The ships are also a key part, acting as the mid-ground? Curator: Indeed. Their placement helps establish depth and scale within the composition, without diminishing from the water's importance. Perestrello emphasizes a flat, nearly two-dimensional perspective through careful arrangement. The photograph acts as a metaphor for visual experience itself. How do we, as viewers, construct our perceptions of the world? Editor: That’s fascinating, I was too busy looking for the actual place, not at how it was constructed. I’ll definitely think differently about photographs going forward! Curator: A closer formal reading can often reveal unexpected insights and deeper levels of meaning within any artwork.