Eftermiddag ved Himmelbjerget 1860

Curator: Here we have C.A. K\u00f8lle's "Eftermiddag ved Himmelbjerget," a gelatin-silver print from 1860, held here at the SMK. There’s something so serene and expansive about it, but also a quiet stillness. What do you see? Editor: I’m intrigued by how this photograph intersects with painting traditions, especially considering it's labelled 'plein-air,' typically associated with painting. What kind of material conditions were enabling photographic 'plein-air' at this time? Curator: Exactly! Let’s think about the materiality of this photograph. The gelatin-silver process itself—a relatively new technology in 1860—allowed for a greater tonal range and finer detail compared to earlier photographic methods like daguerreotypes. But how accessible would such technology have been? Think about the production of gelatin, the silver itself, the camera equipment... Editor: So, the ease of taking the image belies the complex and perhaps unequal distribution of resources needed to produce it. The photographer likely had significant financial backing. Curator: Precisely. And what about the landscape itself? Himmelbjerget, or "Sky Mountain," was becoming a popular tourist destination in Denmark. So, the photograph serves both as a record of a specific place and time and participates in creating a market for the experience of "nature". Who were the consumers of this image, and what did it signify for them? Editor: That makes me reconsider my initial reading of it. I saw a peaceful scene, but now I'm also thinking about tourism, technology, and potentially class. Curator: And isn't that the exciting part? By considering the materiality of the photograph – the gelatin, the silver, the site itself – we begin to unpack the complex social and economic factors embedded within this seemingly simple landscape. Editor: Absolutely. I came in thinking about the scene, now I’m leaving with questions about photographic materials and consumer culture!