Son of General Flo, Isle of Jersey (Le fils du général Flô) c. 1852 - 1853

Curator: We are looking at “Son of General Flo, Isle of Jersey,” a gelatin silver print created circa 1852-1853. This intimate portrait comes to us from the hand of Victor Hugo, the celebrated novelist also known for his photographic explorations. Editor: The first thing that strikes me is the moodiness, despite its small size. The tonal range seems quite subtle, almost like a sketch done in graphite rather than what I’d expect from a photographic print. It also exudes an unmistakable air of Romanticism. Curator: Yes, Hugo was deeply invested in the Romantic movement, which greatly influenced his compositions and use of light. Note how he shrouds the young subject in shadow, creating a pensive atmosphere, highlighting not just his likeness, but also evoking a sense of innocence and introspection. The tightly clenched fist seems almost a symbolic barrier against the outside world. Editor: And you know, examining the objecthood, that it’s a print, opens interesting materialist readings. Was this intended for wide circulation, a personal memento, or more? I find myself thinking about photographic paper production in the mid-19th century: The materiality mattered deeply to photographic printing, the alchemy of emulsion chemistry becoming increasingly industrialized but also relying on careful hand labor. Curator: Precisely. This was during a time when photography itself was transitioning from experimental to established. This photo, while appearing as an intimate portrait, functions in a dialogue of symbolism about family and identity. General Flo, a figure of authority, but seen here, in a smaller, more tender portrayal of his child. Hugo creates a visual rhetoric, touching on both personal connection and historical context. Editor: The contrast between that personal reading and what must have been complex methods of photographic production... how Hugo, a man of letters, was engaging with emerging industrial technologies is an irresistible paradox. This image encapsulates an intersection of art, technology and social forces, not to mention the physical handling of photographic prints in archives and albums after production. Curator: Absolutely, and Hugo's foray into photography reminds us that artistic boundaries are not always fixed, even someone celebrated for their writing was eagerly embracing new visual languages. The symbol is both private and accessible. Editor: It truly highlights photography’s dual nature. At once incredibly novel in production, yet timelessly expressive of feeling and character. It makes me wonder what kind of new, complex industrial processes artists are currently utilizing and how will they too inform human emotions through the artwork.