Fotoreproductie van een schilderij, voorstellende de herders arriveren bij de stal te Bethlehem before 1888

Curator: Well, here we have "Fotoreproductie van een schilderij, voorstellende de herders arriveren bij de stal te Bethlehem," which translates to a phot reproduction of a painting of the arrival of the shepherds to the Bethlehem stable. It's dated before 1888. What's grabbing you first about it? Editor: It’s… surprisingly stark. The contrast in the black and white image creates such a dramatic, almost ominous tone, especially for a subject matter I usually associate with warmth and light. What do you see in this piece, beyond the obvious narrative? Curator: Ah, ominous. Yes, it's interesting that you say that. It makes me think of those hidden aspects within narratives. When I see it I think about the way that a camera takes the intangible – belief, hope, devotion – and renders it visible. I start wondering what feelings are there in that cavern. Look at the faces there: are they awe, exhaustion, disbelief, simple human curiosity? Editor: That’s a really interesting perspective. It kind of flips my understanding, especially since it’s a photographic reproduction. Do you think that distance -- us looking at a photo OF a print of a painting – affects how we connect, or maybe disconnect, with the original subject? Curator: Oh, absolutely! Each layer of reproduction acts like a filter, altering our perception. But it also adds something new! Think about it: The photographer, the printer, they all make a new and perhaps different image together with the original artist. In some sense, it's about how we remake stories for ourselves and for new audiences. Editor: That's a lot to consider. It reframes the whole piece for me. Thank you. Curator: My pleasure.