Gezin voor hun houten woning met dakbegroeiing by Paul Güssfeldt

Gezin voor hun houten woning met dakbegroeiing 1889

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print, photography, gelatin-silver-print

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pictorialism

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print

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impressionism

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landscape

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photography

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gelatin-silver-print

Dimensions height 80 mm, width 112 mm, height 314 mm, width 450 mm

Editor: So, here we have a gelatin silver print from 1889 by Paul Güssfeldt, of three boats at sea. The hazy, almost dreamlike quality of the image gives it a feeling of serene timelessness. How do you interpret this work within its historical context? Curator: That haziness, as you call it, is interesting, because it’s very deliberate. The late 19th century saw photography battling for recognition as an art form, beyond simple documentation. Prints like this reflect Pictorialism, where photographers manipulated images to achieve painterly effects. Consider the composition - how might it borrow from established traditions in landscape painting to elevate the status of photography? Editor: It does remind me of paintings by Turner, particularly with the emphasis on atmosphere over detail. But were there other influences at play? Did photography affect painting itself? Curator: Absolutely. The rise of photography profoundly impacted visual culture. Consider how the impressionists, who were also concerned with capturing fleeting moments and light, used photographs as source material, sometimes even tracing their outlines. And note, too, how early photography offered a new accessibility in portraiture for a burgeoning middle class eager to claim its status. To what extent is it right to say that photographs can ‘democratize’ images? Editor: That's a great question. Photography makes representation far more widely available, of course, but it still requires someone with access to equipment, time and training. So perhaps it's a matter of *relative* democratisation. Curator: Exactly. This image reflects not only the aesthetic trends but also the social and economic shifts of its time. What appears serene hides the complex power dynamics at play in image making and viewership. Editor: I never considered the power dynamics inherent in what appears as simply a peaceful scene. It really broadens how I understand the photograph. Curator: Indeed, seeing any art object as shaped by complex histories encourages deeper inquiry.

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