Binnenplaats van het aartsbisschoppelijk paleis te Alcalá de Henares before 1886

Editor: So, this gelatin silver print, "Binnenplaats van het aartsbisschoppelijk paleis te Alcalá de Henares", captured by Juan Laurent before 1886… The architectural details are striking, especially the play of light and shadow in the courtyard. I’m curious, what stands out to you about this image in its historical context? Curator: It's fascinating how Laurent uses photography to document and, in effect, claim space. Consider the socio-political role of imagery at that time. Architectural photography like this wasn't just about recording what was there; it was about defining and presenting a particular image of Spanish identity, particularly the grandeur of religious power, for public consumption and perhaps even as colonial propaganda. Does the starkness of the image strike you at all? Editor: The lack of people definitely creates a certain austerity, almost a removed, untouchable quality. It feels very deliberate. Curator: Precisely. Think about the context: secularization movements, the declining power of the Church... Presenting this idealized, almost empty courtyard, does that reinforce the authority it once held, or does it reveal its potential obsolescence? The public role of photography becomes very important here. Is it preserving a memory or promoting a power structure? Editor: That's a really interesting way to frame it. It almost feels like a stage set, ready for history to be performed, but absent its actors. I never thought about how deliberate the *absence* of figures could be. Curator: Exactly. The art lies not only in what is shown, but in what is omitted. This piece invites us to consider the power dynamics inherent in image-making and its potential impact on shaping public perceptions. What will you consider now when examining photography? Editor: I'll definitely be thinking more critically about who's absent from the image, and what statement that absence is making. Thank you!