Portret van Willem Anne Schimmelpenninck van der Oye 1850 - 1872

Curator: This is a portrait dating from between 1850 and 1872, known as "Portret van Willem Anne Schimmelpenninck van der Oye." The creator is anonymous, which in itself sparks intrigue. It is on display here at the Rijksmuseum. Editor: My first thought is how staged it all feels, but in a strangely endearing way. Like he's trying so hard to project a certain image, a carefully constructed… stillness. Curator: Absolutely, this albumen print, later converted to a gelatin-silver print, speaks volumes about the era's aspirations for photographic portraiture to emulate painting. Think about the precise control required to achieve this composition with the photographic methods available at that time. Editor: And control is what it's all about, isn't it? From the way he’s posed, arms crossed defensively, to the strategically placed hat and cane - almost like props in a play. It screams, "I am a man of substance," though the reality might be more nuanced. It's the materiality of this portrait—the precise, layered process of collodion and silver—that mirrors the subject's curated self-presentation. Curator: Perhaps a man wrestling with his identity in a rapidly changing world? The gaze, although fixed on the viewer, holds a trace of vulnerability, almost as if questioning the very image he's trying to project. The muted tones and soft focus add to the introspective atmosphere. There's a story beyond the stiff posture and the well-placed accessories. Editor: I find myself wondering about the labor that went into producing this image. Not just the photographer, but the sourcing of the silver, the preparation of the plates. This was a process enmeshed in specific social and economic conditions. Each material choice—the paper, the chemicals—contributes to the construction of both the image and the sitter’s perceived status. Curator: It is an enduring mystery about the interplay of pose, process and, personality captured on film! It leaves us pondering the relationship between the sitter and his image. Editor: It prompts a critical look into the material realities that shaped photographic portraiture, questioning its role in crafting identity, and the quiet but palpable pressures that go hand in hand.