Portret van een onbekend meisje op een stoel by Albert Alfred Warnery

Portret van een onbekend meisje op een stoel 1873 - 1885

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photography

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portrait

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photography

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realism

Dimensions: height 104 mm, width 63 mm

Copyright: Rijks Museum: Open Domain

Curator: Here we have "Portrait of an Unknown Girl on a Chair," a photograph captured by Albert Alfred Warnery sometime between 1873 and 1885. The sepia tones lend it an aged feel. Editor: The solemnity of this small girl is overwhelming. Placed deliberately on this rather unsteady-looking stool. It projects a strangely adult quality. I wonder about the conditions that make such posing seem necessary or desirable. Curator: Right. Let's consider the portrait within the history of photographic studios. From the mid-19th century onwards, photography became more accessible, allowing wider society to partake in portraiture that had previously been the domain of the wealthy and painted. Children, however, are very rarely at the heart of any meaningful discussion. Editor: This photograph performs and subverts many expectations. There’s an emphasis on her class: pristine white dress, hat and socks. In contrast, however, the dark ribbon around her neck offers a stark contrast, which given the photograph was probably taken in the wake of slavery's abolishment in the United States. We see this choice in a completely different light, and it certainly undermines its other visual cues of a wealthy family. Curator: The rise of photographic studios brought along debates around aesthetics. It shifted ideas around what beauty was, as society collectively became fixated on the ideal, the real, the acceptable. A powerful paradigm to negotiate for anyone in that context! Editor: I wonder, could Warnery have sought to question those ideals? By subtly foregrounding the sitter’s resistance through what seems like subtle clothing choices? What seems to initially be an innocent portrait soon grows in socio-political significance when further context is given. Curator: Indeed. By delving deeper, we uncover that portraiture is always about staging and artifice. Editor: Which then becomes a vital source for critical discourse. Curator: Precisely. A seemingly simple photographic study such as this one ends up offering rich potential for nuanced understanding and debate.

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