Mlle Mercier; Mlle Rousseau 1850s - 1860s

Editor: This is a carte-de-visite featuring "Mlle Mercier; Mlle Rousseau" created sometime in the 1850s or 60s by André-Adolphe-Eugène Disdéri. It's an albumen print, and I find the different poses almost like a short visual story. What can you tell me about the social context of portrait photography at the time? Curator: Well, the carte-de-visite was revolutionary in democratizing portraiture. Disdéri patented the process of taking multiple exposures on a single plate, making photographs affordable and accessible to a burgeoning middle class. Before this, painted portraits were mostly limited to the wealthy. Notice how the subject, likely an actress or performer given Disdéri’s clientele, is carefully posed to project an image of respectability despite the affordability of the medium? How might this connect with wider discussions around representation? Editor: That’s interesting! So even though the photographs were more affordable, there was still a performance aspect in upholding a certain social standing. Do you think that impacts the interpretation of their profession or public roles? Curator: Absolutely. These images circulated widely; they were collected, traded, and displayed in albums like calling cards. So, the photographed individual gained visibility, and that visibility came with societal expectations. There was power in owning your own image, even within the structured norms of posing and dress. Does this tension between individual representation and social constraints suggest anything to you about the rise of celebrity culture? Editor: That gives me a lot to think about—the rise of more accessible images and how that both reflected and shaped the norms around who was seen, and how. I never really considered that these early photographic formats had that level of societal impact. Curator: Exactly. Photography became a powerful tool, influencing public perception and constructing social identities.