Ann Andrews 1919

Editor: Let’s turn our attention to Adolph de Meyer's photograph, "Ann Andrews," created in 1919. It’s a black and white image that feels incredibly elegant, almost dreamlike, doesn't it? What captures your imagination when you look at this portrait? Curator: It’s funny you say dreamlike; that's exactly the word that dances in my head! It's got that gossamer, otherworldly quality so characteristic of Pictorialism. De Meyer, like a sorcerer of light, uses soft focus to almost melt the details. Notice how the light kisses her face and hat – does it make you wonder about the world she inhabits, what’s reflected back to her in the mirror she glances towards? Editor: Definitely! I am also curious, who is holding that mirror? It is another aspect that gives that dreamlike impression. It’s like a glimpse behind the scenes of constructing this ethereal image. Curator: Precisely! The visible hand of the picture maker, literally *and* figuratively, makes you ask: is it capturing a “real” moment, or is this wholly constructed, meticulously designed… and does it even matter? The beauty lies in the aesthetic spell, not the "truth." Do you get the feeling she's less being portrayed than transformed into a vision, an ideal? Editor: Absolutely. It feels less about capturing her likeness and more about creating an impression. Curator: I see de Meyer as an alchemist, transmuting reality into art! The mirror, held by that unseen hand, reminds us it’s all a constructed image, a performance, a… well, a photograph. It asks: is the goal reflection or embellishment? I wonder which Ann preferred. Editor: That's a great point – embellishment versus reflection. It makes you consider the artist's role and the subject's perception. Curator: Yes! So, has this made you look at photographs a bit differently, not just as mere recordings? Editor: Absolutely, thinking of photographs as alchemic transmutations of reality will certainly stay with me. Thank you for pointing it out.