Twee foto's van feestelijkheden ter gelegenheid van het regeringsjubileum van koningin Wilhelmina in Amsterdam en roeiers tijdens het bloemencorso 1923 - 1929

Editor: So, we're looking at "Twee foto's van feestelijkheden ter gelegenheid van het regeringsjubileum van koningin Wilhelmina in Amsterdam en roeiers tijdens het bloemencorso," taken sometime between 1923 and 1929 by Hendrik Herman van den Berg. They're gelatin silver prints and have such a subdued, almost melancholic mood despite depicting celebrations. What stands out to you in these photographs? Curator: The pairing is fascinating. Juxtaposing the formal celebrations for Queen Wilhelmina with the bloemencorso gives us a glimpse into different facets of Dutch national identity in the interwar period. Look at the crowd in the top image - hats, serious expressions. What sort of socio-political undercurrent do you sense there? Editor: It feels very controlled and ordered. A sense of duty perhaps? But the bottom photograph, with the boats on the water, it’s more relaxed. More about community and leisure. It seems like the contrast speaks volumes. Curator: Precisely. The monarchy sought to project an image of stability and tradition, crucial after the First World War. But the bloemencorso, the flower parade, also demonstrates a national pride, albeit a more populist expression. The way these events are recorded and presented shapes public memory. Consider the photographer's choice: Why capture these moments, and in this way? Editor: To maybe show the dual nature of Dutch society? The official and the communal…it makes you wonder about Van den Berg's own perspective. And how this photograph contributes to the broader narrative of that era. Curator: Exactly. We’re not just looking at two events, but also at how the spectacle of nationalism operates and is disseminated. Consider what the act of photographing, selecting, and juxtaposing these scenes does in terms of shaping their historical context. Editor: That really makes me think about the choices made in curating national identity, and how even photographs, seemingly objective, play a part in it. Thanks! Curator: It is a good point to consider, how do photographs create a curated view?