Kloof met rivier bij La Rhue in de Dordogne 1903

Editor: Here we have a photograph from 1903, titled "Kloof met rivier bij La Rhue in de Dordogne," which translates to "Ravine with river at La Rhue in the Dordogne." It is presently held in the Rijksmuseum. Its style could be described as Realism with the photograph done 'en plein-air'… What catches my attention is the density of the foliage juxtaposed against the seemingly harsh rock formations. What's your take on it? Curator: From a materialist perspective, the photograph presents a specific relationship between human labor, technological development, and natural resources. The very act of taking this photo relied on industrial advancements in camera production, film development, and transportation of materials, reflecting capitalist structures influencing artistic creation. Consider what it meant to mobilize to the Dordogne, with equipment, to pursue a real-time observation. Editor: That’s a really insightful point. It makes me think about the economics behind artmaking itself at the turn of the century, not just the romanticism of the scene. Was 'plein-air' practice really that common with the technical overhead of cameras? Curator: It speaks to an aspiration among artists of the period: an idealization of working within nature despite needing materials and processes provided by industrialized society. 'Plein-air' as we call it involved a selective capturing and idealizing process of natural landscapes, mediated by specific technologies with capital production as a subtext. This photo isn't just a window; it is evidence. Editor: This conversation reframes how I consider 'realism', with its roots less about true depiction and more as constructed reflection on materials and method. Thank you! Curator: Precisely, thinking about these works in this way moves beyond surface readings. Examining material realities unveils layered dialogues about artistic creation, technology, and societal frameworks.