Pavillon Henri IV, Saint-Germain-en-Laye c. 1860

Editor: This is a stereo card photograph, "Pavillon Henri IV, Saint-Germain-en-Laye," dating from around 1860 by the artist E.L. I find the romantic cityscape and the stereoscopic presentation really interesting, how it invites the viewer to virtually travel. What catches your eye in this photograph? Curator: As a materialist, I’m immediately drawn to the production of the stereoscopic image itself. Consider the technological advancements required to create these: the lenses, the printing processes, and the distribution networks. Who was consuming these images, and what kind of labor went into creating them on a mass scale? How did it shape leisure activity? Editor: That’s fascinating! I hadn’t thought about the mass production angle. I was so focused on the beautiful building and scenery. So, the materials and process are more telling than, say, the architectural subject? Curator: Not necessarily more telling, but certainly another layer to unpack. The choice of architecture as subject matter speaks volumes too. Who is depicted in this kind of photograph and for whom? Photography was both documentation and a medium for fantasy, playing into desires for property, success and material comfort, no? It represents an intersection of artistic expression, industrial capacity, and social mobility, but it's only available to a specific group of consumers, of course. What does that make you wonder about the other citizens of Saint-Germain-en-Laye during this time? Editor: That gives me a lot to think about regarding the wider societal implications. It’s more than just a pretty picture. Curator: Exactly! By focusing on the materials and methods, we reveal how this image functioned within a particular historical context, mirroring and reinforcing certain social structures and desires. Editor: Thank you! I never thought of approaching art in that way. Curator: My pleasure. Keep questioning the context in which an artwork appears!