Bittere of Lyne Wilg 19th-20th century

Editor: We’re looking at “Bittere of Lyne Wilg” by Richard Tepe, a gelatin silver print from the 19th or 20th century. It’s a stark, beautiful image of willow branches. They almost seem to float against the background. I'm curious, what stands out to you about this particular work? Curator: Oh, aren't they fabulous? It's a hushed image, isn’t it? And yet those fuzzy buds positively *vibrate* with potential, like tiny explosions waiting to happen. To me, Tepe captured something more than just botany; he caught that liminal space between winter and spring, that held breath before everything bursts forth. And it is realism yet feels romantic. Does it perhaps speak to your experiences with realism? Editor: I usually see realism as paintings or even portraiture that highlight reality, whereas this image to me feels much softer than those traditional types. Curator: Soft, yes! Gelatin silver prints have such a unique ability to render texture with this incredible softness while maintaining sharp details, wouldn't you agree? Like a daydream remembered. This could suggest how realism shifts depending on materials and perspectives. Looking at those catkins…they remind me of little paws, or furry caterpillars! Tepe coaxed out a hidden sensuality, no? How else could you interpret the work? Editor: That makes sense about texture playing a part in the realism that can be achieved with photographs. Looking at the negative space actually is also telling me a lot, especially around the edges of the images and where the sprigs separate. Curator: Absolutely! The negative space hums just as much as the subjects do. That is such a keen observation that completely changes my views. You just gifted me a new way to appreciate the photo. Editor: It's a different approach, thanks to your sensuality analogy! Curator: The glory of collaborative observation!