Depoix, Gymnase/ Lea D' Ascot, Paris/ Dutailly, Variettees/ Mily-Meyer, Des Bouffes, from the Actors and Actresses series (N45, Type 4) for Virginia Brights Cigarettes 1885 - 1891

Editor: This composite image, "Depoix, Gymnase/ Lea D' Ascot, Paris/ Dutailly, Variettees/ Mily-Meyer, Des Bouffes," made between 1885 and 1891 by Allen & Ginter, seems like it's both drawing and photography reproduced as a print. The subjects are framed as portraits with similar tonal values, although each quadrant displays unique costume designs and physiognomies. What is most interesting to you? Curator: From a formalist perspective, the initial point of interest lies in the composition. The four portraits, each distinct yet harmonized within a grid, invite an analysis of their structural relationships. Consider, for instance, the interplay between the curves of the subjects' bodies and the right angles of the overall composition. Does the limited monochromatic range contribute to a flattening effect, or does it accentuate subtle differences in texture and form? Editor: It's fascinating how you're thinking about the structural relations within this small picture. The poses seem very specific to each portrait, how do these physical arrangements influence your formal reading? Curator: Precisely. The actresses in the photographs present distinct shapes of performance through posture and facial expression. In addition, consider how each image utilizes varying focal depths and shadows to bring dimensionality to a flat work. Editor: Right. By cropping them together like this, Allen & Ginter were prompting viewers to actively contrast them as pure forms! This close looking changes my understanding from just seeing the photo to really appreciating the aesthetic techniques. Curator: Agreed, attending to structure helps discover an intentional discourse constructed by Allen & Ginter in this combined print work.