Homme allongé au pied d'un chàtaignier 1850 - 1853

Editor: So, here we have Charles Marville's "Homme allongé au pied d'un châtaignier," made between 1850 and 1853, a gelatin-silver print. It's very tranquil. The figure looks almost dwarfed by the size of the tree. How might we interpret this work? Curator: I think the material processes here are very interesting. Think about the labor required to produce a gelatin-silver print at this time, the specific kind of social reality required to give rise to the scene captured. The sitter's pose appears very natural and casual; consider that the subject had to hold that pose, perhaps for a long time, for the exposure needed at the time. Doesn't this suggest a commentary about work and leisure? What kind of viewer was anticipated to buy, and see this photo? Editor: That's a really interesting point about the labor of posing for early photography and what kind of audience may view this work! It’s easy to forget how much effort even seemingly candid shots took then. Curator: Exactly. It speaks to the shifting relationship between humans and nature that’s so important to the social and artistic contexts of the mid-19th century. Also, what do you make of the fact that it is a manufactured object—a commercial commodity, that represents nature? Editor: I see what you mean, and it brings a whole new perspective. I hadn't considered the economic and labor aspects of making what looks to be a peaceful photo of nature. Curator: It really asks us to consider the material conditions that shape not only the image but also our perception of it. Editor: Absolutely, I am beginning to understand so much more by thinking about the materiality of this. Curator: Good! I hope that will influence how you appreciate other photographs from now on!