Krater van de Vesuvius 1864

Curator: Isn't that something? Just caught my breath. Feels so...primordial. That looming rock-face against pure black, a puff of cloud emerging...it's almost as if the Earth is exhaling. Editor: It certainly possesses a dramatic flair. This image is a print, specifically a photograph, of ‘Krater van de Vesuvius,’ or the Crater of Vesuvius, made in 1864 by James Nasmyth. It's now held here at the Rijksmuseum. Curator: Nasmyth...the name rings a bell. Weren’t his lunar landscapes absolutely radical for the time? There's that same otherworldly feel here, though decidedly less serene. This speaks of raw, untamed power. Editor: Precisely. Nasmyth was renowned for his depictions of the moon, achieving photorealistic effects with ingenious methods. His fascination extended to volcanic landscapes, viewing them, perhaps, as analogous to lunar terrains. Consider the societal implications of making what seems dangerous palpable. How do you feel viewing Vesuvius knowing the effect this image would have had on its contemporaries? Curator: A bit unnerved, but then empowered. I suppose it demystifies the terrible. Look closely though, it seems staged...that perfectly captured plume. Editor: It’s crucial to remember that Nasmyth often employed studio techniques to create his images. The precision…it reflects the scientific aspirations of the era, and perhaps, a desire to control and understand nature through visual representation. Curator: So a carefully constructed theatre of nature, designed to evoke a sense of awe and, I’d wager, a little fear? Maybe to warn folks. Editor: Perhaps both. Think about the historical context—the constant threat of volcanic eruptions, the ongoing scientific expeditions, and the evolving public perception of nature’s power. An image like this certainly contributed to shaping that dialogue, for better or worse. Curator: It still stirs something within me. It’s a window into both the heart of the earth and a mindset striving to classify and categorize and manage what defies domestication. Quite a photograph really! Editor: Indeed. And the complexities, or even contradictions, contained within this print, continues to hold our attention even now.