Bret Harte (1836-1902) 1869 - 1874

Editor: So, this is a gelatin-silver print of Bret Harte by Jeremiah Gurney, probably taken between 1869 and 1874. I'm immediately struck by the sepia tone, and the somewhat posed, almost theatrical, quality of the subject. What stands out to you in terms of form and structure? Curator: It is intriguing how the subdued tonality governs the image. Notice the near-monochromatic palette and the resulting emphasis on texture. Gurney masterfully uses light to model Harte’s features. Note how this interplay contributes significantly to the portrait's contemplative, if not slightly melancholic, mood. Observe, also, how the doubled view offers repetition rather than variation; this doubling, though mirroring one another, serves to fix the image and therefore the man more solidly in place, doesn’t it? Editor: It does. It almost feels like two attempts at capturing the same moment, slightly off. What's the effect of the almost staged pose with his head resting on his hand? Is it merely a convention, or does it carry a certain symbolism in photographic portraits of the time? Curator: In purely formal terms, this supports a diagonal dynamic that runs through the composition. Harte's gaze directs our attention, completing the visual equation. But I would resist any overly symbolic reading of the pose itself. Instead, attend to how the photograph, in its entirety, signifies itself, draws our attention to its production of an image. This Japonisme, a fashionable artistic influence during that period, suggests the artistic inclinations and elite status of the subject. Do you agree? Editor: I do. The framing does seem important – how it places Harte within a specific social and cultural sphere. This makes me rethink my initial impression, from seeing it simply as a portrait of one person, to seeing it as a reflection of artistic tastes of an era, revealed through light, shadow, and doubling of the figure. Curator: Precisely.