Portret van twee onbekende vrouwen van de Salvation Army 1880 - 1900

Editor: This is an intriguing gelatin silver print titled "Portret van twee onbekende vrouwen van de Salvation Army," made sometime between 1880 and 1900 by W. Rattray. The composition is so carefully balanced despite being asymmetrical. What stands out to you? Curator: Immediately, it is the textural interplay of the piece which draws my attention. Consider the subtle gradations achieved in the sepia toning, juxtaposed against the distinct material quality of the gelatin silver. Do you see how the coloured pencil and watercolor additions, perhaps meant to enliven the image, actually enhance the photograph's flatness, calling attention to its surface? Editor: Yes, I see that now! It is like the embellishments reinforce the object-ness of the photo rather than creating depth. How does that impact the reading of the figures themselves? Curator: It forces us to confront the artifice inherent in portraiture. The artist manipulates the tonal range and utilizes graphic interventions, directing our gaze towards formal considerations instead of emotional expression. Observe the geometric patterning created by their clothing and instruments. Are these elements supporting the women or distracting from them? Editor: That’s a really interesting question. At first, I thought of the added colour as superficial, but considering your points, I appreciate how it complicates the photographic image. It really opens up a conversation on photographic truth and representation! Curator: Precisely! These added elements serve as formal disruptions and reveal how we actively create and negotiate meaning from images, even those that appear to simply record reality. Editor: This was insightful. Thank you for providing your formalism expertise! Curator: My pleasure. The power lies within observation and the ongoing discourse between viewer and object.