Mlle Troisvalets; Mlle Troisvalets et Simon 1861

Curator: Today, we're looking at "Mlle Troisvalets; Mlle Troisvalets et Simon" a photograph dating to 1861 by André-Adolphe-Eugène Disdéri, currently housed here at the Metropolitan Museum of Art. It is made with albumen print. Editor: My first impression is that it’s playful and intriguing, though strangely staged. There's almost a sense of a film strip with its multiple sequential shots. What kind of story are we seeing unfold here? Curator: It’s fascinating to consider Disdéri's use of the carte de visite format for this portrait. These small photographs were immensely popular in the 19th century, acting as a sort of social currency. This work attempts to move away from the staid traditional portrait by providing multiple images in this format. Editor: Absolutely, I think the multiple poses signal something important. It’s hinting at a fluidity in identity that official portraiture often suppresses, no? Mlle Troisvalets is performing, but what is the performance revealing or obscuring? Also, what's the story with the prop dog and the formal garments? Curator: Certainly! Photography democratized portraiture but it also solidified social codes and aspirations. This image sits right on that edge of formality and constructed identity, which reflects 19th century notions of femininity, class, and the role of art. It seems she has multiple versions of the same garb, cape up or cape down, slightly gesturing toward the mantle decoration behind her. This relates to contemporary uses of multiple images, maybe even as early animation? Editor: Exactly. I see the repetition as drawing attention to the artificiality of the photographic medium. It makes us aware that we’re looking at a constructed representation. Who gets to stage themselves and their image is important. And this carte de visite format, given it's a product to sell, emphasizes social performance and the desire for visibility within the social landscape of 19th-century France. Curator: It underscores the interplay between technology, social aspiration, and artistic innovation at a pivotal moment in the medium's evolution, definitely. Editor: Yes, thinking about this piece today, I’m left considering how portraiture has become democratized, while simultaneously remaining highly policed. Curator: Precisely, a fruitful discussion on the intersection between self-presentation, societal expectations and photography!