Berglandschappen 1941 - 1945

Editor: This is "Berglandschappen," or "Mountain Landscapes," an anonymous photograph album page dating from 1941 to 1945, found at the Rijksmuseum. I’m struck by the contrast between the expansive mountainscapes and the regimented layout of the photographs on the page. What stands out to you in terms of composition? Curator: The deployment of varying scales arrests my gaze. We witness the miniature landscapes, snapshots almost, existing in conversation with each other upon a larger field. Do the edges themselves—the frame, the paper—function as critical pictorial elements, dictating our reading of the internal forms? How do these elements contribute to its visual rhythm? Editor: So, you are saying it’s more about the interaction of shapes and sizes rather than the scenery itself? Curator: Precisely. Observe how the monochromatic palette flattens the depicted space, emphasizing tonal relationships across the montage. Consider, too, the materiality. The gelatin-silver and albumen prints offer subtle textural variations. Do these different photographic processes affect our perception of depth and form? Editor: I see what you mean about the textures. I hadn’t noticed the slight differences before. So, you are concentrating more on the relationship of the objects on the page? Curator: Exactly, in examining such elements, do we risk disregarding their mimetic qualities? Where on the spectrum of pure form versus representational imagery should we locate our attention? What do the photographs tell us by the choices on display, not only what to present, but what is occluded from our sight? Editor: It’s interesting to think about the choice of what’s included, rather than just what's shown. Curator: Indeed. This photograph offers us fertile ground to engage with visual semiotics. Editor: I hadn’t considered the arrangement itself as a key element of the artwork. Thank you for this insight.