Fotoreproductie van een geschilderd portret van een vrouw met waaier op het strand door Charles Amable Lenoir en twee portretten van vrouwen 1900 - 1930

Editor: This photomontage by Ch. Reutlinger, sometime between 1900 and 1930, is a reproduction of a painted portrait alongside two portraits of women. The poses and clothing evoke classical paintings, with diaphanous fabric and dreamy settings, yet, these are photographs. What are we meant to take away from these being displayed together like this? Curator: It’s fascinating, isn't it? Consider how photography, then a relatively new medium, was attempting to establish its artistic legitimacy. Reproducing a painting gives photography an established "fine art" pedigree to lean on. It's staking its claim within the existing hierarchy of art, suggesting, "We too can capture beauty and form." What do you think about the selection and arrangement? Editor: Placing all of these images together – I guess the artist is commenting on representations of femininity and beauty? The composition reminds me of a triptych almost. Curator: Precisely! The photomontage becomes a statement about art and representation in a rapidly changing world. There's also a dialogue happening with orientalism; look at the suggestive poses, evoking an "exotic" allure and a classical ideal that was circulating through European painting and photography at this time. Considering whose gaze is this all intended for, is a critical question in understanding the popularity of this genre in a sociopolitical framework of imperialism. How might social class influence the display of such imagery at the time? Editor: Perhaps the owners used these kinds of art to advertise their "culturedness". This gives me a lot to think about. Curator: Absolutely, It's a powerful combination. This photomontage tells us a great deal about the aspirations and anxieties surrounding art, gender, and class at the turn of the century. Hopefully it helped frame how museums actively reflect and affect artistic trends in society.