Gezicht op de Kleine Scheidegg en de Wetterhorn 1912 - 1920

Curator: Looking at this vintage albumen print titled "Gezicht op de Kleine Scheidegg en de Wetterhorn", made sometime between 1912 and 1920, what strikes you first? Editor: Isolation. Absolute isolation. This little outpost nestled beneath such monumental, indifferent peaks. There’s something romantic and terrifying in equal measure. Like being a speck claiming dominion over a wild planet. Curator: That contrast between the man-made and the natural world is key, I think. This isn’t just a landscape; it's a study of civilization’s audaciousness, rendered in these wonderfully sepia tones. Those railway tracks carving through the terrain…they remind me of veins trying to feed something enormous. What cultural associations does it bring to mind for you? Editor: Well, railways always signify connection and progress, right? But here, surrounded by these geological titans, they feel almost… fragile. The Wetterhorn looming above has always been such a symbolic presence for Alpine romanticism—an image of untamed power that humbles humankind's ambitions, yet simultaneously attracts. Curator: It's interesting you use the word "fragile," because albumen prints were known for their crisp detail, capturing textures beautifully. In this case, the textures amplify that fragility, don’t you think? You can almost feel the chill of the air around those snow-capped peaks. It is worth noticing the restaurant just slightly elevated in the picture. I mean, who would have thought you would eat that high in the mountain so early! Editor: Absolutely. The clarity against the sublime darkness evokes such strong feelings. Early photography tried so hard to emulate painting, and this image captures a grandness, a near religious veneration of landscape that we’ve, perhaps, forgotten. It evokes a collective memory for European grand tours and alpinism! Curator: You are so right. There is a stillness here, a sort of profound meditation. It feels as if time is suspended between the past when it was taken and our own modern sensibilities of place. I would find it intriguing to bring in my next exhibition! Editor: Indeed, a perfect bridge between then and now! The enduring fascination with mountains is alive and well.