Gezicht op Lac du Ballon before 1894

Editor: So, this gelatin silver print is "Gezicht op Lac du Ballon," which I believe translates to "View of Lac du Ballon," and it was created by Charles Bernhoeft before 1894. It's beautiful; there’s a serene stillness in the landscape. What's your take? How do you interpret this work within its historical moment? Curator: The pictorialist aesthetic embraced by Bernhoeft wasn't simply about capturing pretty scenes. It was a deliberate move against the idea of photography as a purely objective medium. This image invites us to consider the colonial gaze intertwined with landscape photography. Who is granted the privilege to represent these landscapes and whose perspectives are marginalized in the process? Editor: That’s a good point. I hadn't really thought about it that way. Curator: Think about the political undercurrents— the late 19th century, a time of expanding empires. Images like this helped shape perceptions of "untouched" landscapes, often conveniently erasing Indigenous presence and laying the groundwork for resource extraction and control. Do you see the composition reflecting a controlling or dominating view of nature? Editor: I guess I do see how the viewpoint, elevated and wide, gives a sense of...ownership? So, this photograph, while appearing tranquil, actually participates in broader narratives of power? Curator: Precisely! Art rarely exists in a vacuum. By engaging with theory, we can start to unpack the complex web of social and political forces that shaped both the creation and reception of works like this one. Editor: It’s definitely changed how I see it. It's no longer just a pretty picture but also a piece of history imbued with cultural meaning. Thank you! Curator: And thank you! This dialogue helps us both. Remember to always ask: Who benefits from this image, and who is excluded from its narrative?