Groepsportret van de familie Piek, v.l.n.r. Willem Frederik Piek Jr., Gesiena Piek, Louise Maria Fellinger, Hendrik Asser, Stephan Piek met onbekend kind, Carl Alexander Piek, Lucia Ottilia Piek, Johanna Piek, Cato Piek en Lucia Piek-Jolles 1891 - 1893

Editor: Here we have an 1891 group portrait of the Piek family! It’s a beautiful black and white photograph, capturing what appears to be several generations. There is a sense of formality, but also intimacy in their arrangement. How do you interpret this work? Curator: Well, I’m immediately drawn to the symbolism inherent in the family portrait itself. The family, the primary group in society. Note the arrangement; the elders positioned centrally, anchoring the younger generations. Think about the cultural memory being constructed here. What narratives are they consciously projecting, and what subconscious anxieties might be present? Editor: Anxieties? Curator: Yes! Consider the industrial revolution and the changing social structures of the late 19th century. The family, as a unit, became even more important. The portrait serves not only as a record, but also as a symbol of continuity and stability during great upheaval. Notice, for example, how their clothes evoke a sense of classicism. Editor: It’s like they're attempting to ground themselves within their family, yet almost distancing the photograph from a specific era with a deliberate timelessness? Curator: Precisely. They’re carefully curating their image, aware of how future generations might perceive them. Does the positioning of the child and their ambiguous gaze toward us tell us something of their intended legacy? Are we being drawn into a world, or excluded from it? Editor: I hadn’t thought about the power of family photographs that way - it really does act as a potent projection of cultural values. I learned a lot about visual culture through symbolism! Curator: Indeed, it gives a great amount of historical and cultural value! Thanks for joining.