Zelfportret, 'Effrayé de tant de declaration de tante perfidie' 1845 - 1855

Editor: This is a gelatin silver print, a self-portrait by Eduard Isaac Asser, made sometime between 1845 and 1855. It’s quite small and intimate, with the sitter appearing somewhat… well, apprehensive. I'm curious, how do you read this particular self-representation given the period? Curator: The inscription visible on the print, though faded, suggests a sensitivity to perceived betrayals and societal pronouncements. During the mid-19th century, photographic portraits, still relatively novel, were deeply implicated in constructing and circulating social identities. A self-portrait adds another layer; it's a deliberate performance. Does his attire, that formal jacket and high collar, strike you as communicating something specific in that social context? Editor: Absolutely, it speaks to a certain societal standing, doesn't it? Perhaps an attempt to project respectability, despite feeling, as the title says, ‘terrified’ by declarations of perfidy. It’s almost as if the sitter is aware of how he will be perceived, attempting to manage that perception, even through the seemingly 'honest' medium of photography. Curator: Precisely. And considering Asser’s legal background – he was a prominent jurist – we might interpret this image as a commentary on the inherent tensions between public persona and private experience, especially within the confines of 19th-century societal expectations. The photograph isn't just a recording; it’s a negotiation with social visibility and the power of public opinion. Editor: So, it's about navigating societal pressures and the role of the individual within it, which still resonates today. Thank you for putting that in perspective. Curator: It was my pleasure. I now better appreciate the layered meanings that self-representation can hold within the socio-political frame.