Portret van Grace DeWitt, poserend voor een spiegel 1899

Editor: So here we have "Portret van Grace DeWitt, poserend voor een spiegel," taken around 1899 by A. Lincoln Myers. It's a fascinating photograph. What strikes me is how the multiple reflections seem to create a layered and almost dreamlike atmosphere. What do you see in this piece from a historical perspective? Curator: I see a carefully constructed image playing with the performative aspect of identity and its visual representation in late 19th century photography. The presence of a woman reflected many times implies that femininity is also constructed. At that time Pictorialism, of which this is a striking example, challenged photography’s role as objective recorder by embracing manipulation in production as painting did. Does this framing of a subject against the technology surprise you? Editor: It's not entirely surprising, because women and mirrors are quite common in the Western art canon, but here it has this slightly uncanny feel. All these reflections suggest she's somehow multiplying herself. Curator: Exactly. Think about the burgeoning role of women in society at the turn of the century. The "New Woman" was both celebrated and scrutinized. Photography, through pieces like this, participated in that socio-political dialogue. The studio setting also is intriguing as it gives this intimate photo a rather public and mediated element. It really speaks to that moment's particular approach to portraiture and social roleplaying through these portrait studios. Editor: That’s a really interesting connection to think about – photography reflecting social change. It's like the image captures both the personal and the political. Curator: Precisely. It underscores the profound influence of historical context in understanding visual culture. Editor: Thanks, it definitely makes me rethink how photography reflects on the social changes of its time! Curator: My pleasure, analyzing those interplays offers some fascinating historical perspectives!