Korinthische zuil bij de San Marco in Venetië before 1884

Editor: This photograph, "Corinthische zuil bij de San Marco in Venetië," taken before 1884 by Carl Heinrich Jacobi, presents a Corinthian column at San Marco. It feels…almost staged. It's clearly meant to capture a certain aesthetic. How do you interpret this work? Curator: This image invites us to consider the socio-political context of Venice at the time, particularly through the lens of Orientalism. The deliberate framing of the Corinthian column—a symbol of classical European architecture—within a Venetian landscape suggests a Western gaze appropriating and romanticizing a foreign "other." Consider, whose Venice is this? Is it the Venice of the Venetian people? Or is it a carefully constructed fantasy for the consumption of European tourists and elites? Editor: That’s interesting. I hadn't thought of it as a commentary on appropriation. So, the realism of the photo is almost…deceptive? Curator: Exactly. Photography, in its early days, was often perceived as an objective medium. Yet, even then, photographers actively constructed narratives. What's excluded from the frame is just as important. The photographer’s intent, shaped by colonial ideologies, is inscribed in this "realistic" depiction. Editor: Are you suggesting the very act of photographing a place like Venice becomes a kind of power play? Curator: Absolutely. Think about how the depiction of Venice, with its Byzantine influences, feeds into a broader discourse about the East and West. How do elements like light and shadow contribute to the mood of exoticism versus familiarity? Editor: So by studying seemingly simple photographs, we can reveal complicated dynamics of power, representation, and identity. Curator: Precisely. The personal and political are interwoven here. Editor: This gives me a completely different understanding of this image! Curator: I'm glad to hear it. It is vital that we continue decolonizing our view of these artefacts.