Handschoen van beige zeemleer by Sozette

Handschoen van beige zeemleer c. 1900 - 1920

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photography

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still-life-photography

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photography

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decorative-art

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modernism

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watercolor

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realism

Dimensions length 52 cm, width 14.5 cm

Curator: Let’s turn our attention to a fascinating still life from around 1900 to 1920: a photograph of "Handschoen van beige zeemleer," or "Gloves of Beige Chamois Leather" in English. Editor: They feel very delicate and restrained. There’s something quite haunting in how empty they are. The light on the chamois leather gives them an almost ethereal quality, despite being a very practical item. Curator: The photograph provides an interesting study of everyday objects, and their representation speaks volumes about the societal roles that such garments fulfilled, primarily for women of a certain class. Editor: Exactly! I keep thinking about what hands used to be placed inside these gloves and how the symbolism associated with protection and beauty has persisted throughout the decades. Chamois leather has connotations of softness and luxury, reinforcing those ideals. Curator: Yes, the symbolism connects to prevailing social expectations for women. Their bodies and presentation were tools used to signal status. Gloves, in this sense, served both a functional and performative role. Their design too is really fascinating! Editor: Right! The elegant cut along the fingers almost mimics the form of classical drapery, hinting at longer aesthetic traditions, yet grounded in contemporary wear. Do you think that the artist intended them to evoke classical sculptures? Curator: It’s a definite possibility, particularly in the formal qualities! Perhaps what’s most impactful is that in being photographed, these otherwise overlooked garments get enshrined, memorialized if you will, for what they communicated within a given historical framework. Editor: Looking at the artwork now, I am more aware of the narratives behind it and the social weight it carried. Thanks for bringing this up! Curator: Indeed. Considering this artwork expands our understanding not only of photography as still life but the nuanced stories that these artifacts can tell about identity, status, and expectation in earlier eras.

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