Portret van Alexandra van Denemarken, Princess of Wales met haar hond op Abergeldie Castle c. 1865 - 1870

Editor: Here we have Stephen Thompson's "Portrait of Alexandra, Princess of Wales with her dog at Abergeldie Castle," likely from between 1865 and 1870, made with photography. It strikes me as such a formal image, but also a bit…static? What do you make of the composition, its lines and textures? Curator: Observe how Thompson orchestrates the tonal contrasts. The dark, rectilinear doorway is juxtaposed against the princess's light dress, the pattern providing both balance and discord. Semiotically, consider the dress: its construction denotes a clear message of wealth. And have you considered the stereoscopic technique at play? Editor: You mean the doubled image effect? How does that affect the way we see it, formally? Curator: Precisely. The duplication alters depth perception, fracturing our gaze. The texture of the stone wall echoes in the dog's fur, yet both recede, visually. Why do you think the artist chose this technique and placement? Editor: Maybe to emphasise status and formality in multiple dimensions... though I confess I’m more drawn to how stiff it seems overall. It's the repeated geometric forms, and Princess Alexandra holding the umbrella, it appears almost unused and ornamental rather than practical. Curator: An interesting point. The ornamental aspect further removes Alexandra from the landscape. Is that perhaps a comment, subtly expressed, on the removal of nobility from labor and common existence? Editor: That makes sense; viewing it in terms of those formal tensions adds another dimension. Curator: Indeed. Looking through a formalist lens opens a space where even simple images provide access to diverse insights regarding meaning.