Portret van een onbekende oude vrouw before 1905
paper, photography, gelatin-silver-print
portrait
aged paper
homemade paper
paper non-digital material
pictorialism
paperlike
sketch book
paper texture
paper
photography
personal sketchbook
gelatin-silver-print
thick font
paper medium
historical font
Editor: Here we have Gertrude Kasebier's "Portret van een onbekende oude vrouw," a gelatin-silver print made before 1905. It is displayed on aged paper and bound in what seems to be a personal sketchbook. The solemn nature of the portrait captured in this old-fashioned photographic printing process really draws me in. What stands out to you in this image? Curator: Initially, the contrasting textures command attention. The smoothness of the photographic print is juxtaposed with the rough, aged paper of the sketchbook. This is critical. The photographer's placement of her photographic print on the off-white page is a compositional decision that emphasizes the materials as discrete forms in space. Consider the implications of that relationship and what happens to your attention as a result. Editor: So, it is about noticing the form? The surface is almost as important as the sitter? Curator: Precisely. Consider how Kasebier utilizes the paper as a framing device. Note also how the grayscale tones interact. The deep blacks and soft grays within the portrait are echoed in the subtle discolorations and foxing of the aged paper, unifying the artwork visually. We are prompted to examine how distinct textures can communicate as much, if not more than the content itself. The formal choices point toward a focus on line, shape and balance instead of merely telling a story. What might this tell us about the photographer's goals? Editor: I hadn't considered it in those terms before, focusing more on who the sitter was and the mood of the picture. This really makes you think about every artistic decision and how materials shape your view. Curator: Indeed. This photograph moves beyond a representational depiction by utilizing compositional decisions, contrasting surfaces, and tonal variation. Its intrinsic elements are its essence. Editor: Seeing how Kasebier utilized materials and composition gives me a greater appreciation for photographic portraiture as a complex interplay of form and concept.
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