Twee matrozen in een tuin 1940 - 1943

Editor: This is "Twee matrozen in een tuin," taken sometime between 1940 and 1943, attributed to an anonymous artist, and presented as a photograph here at the Rijksmuseum. There's something really haunting about this image, like a moment stolen from a much larger, more complicated story. What strikes you when you look at this piece? Curator: What I see is the culmination of the specific photographic materials used and the labor that went into producing this image. This wasn’t a casual snapshot. The photographer likely used a specific camera, film, and developing process, reflecting available resources and skills. The wartime context—between 1940 and 1943—forces me to think about material scarcity. What film was available then? What choices were made? Editor: That's a really interesting point. I was focused on the sailors themselves and the possible story, but thinking about the scarcity of resources changes everything. Do you think the photographer made choices based on limitations? Curator: Undoubtedly. The type of paper used, the developing chemicals available—all constrained by wartime conditions. These material limitations shaped the aesthetic and become part of the work's narrative. Even the potential imperfections could be read as traces of those circumstances, revealing the practical realities of making art in a time of conflict. Editor: I never really thought about how much the limitations could influence art. I was too focused on the big ideas. Curator: That's understandable. Considering the material reality alongside those "big ideas," deepens our understanding of how artists and photographers have responded to their environments and the resources available to them. Editor: It really changes my perspective. Now, I can appreciate the image both for its subject and its material presence. Curator: Exactly! This perspective reminds us that art is not solely born out of creativity, but also necessity, ingenuity, and an intimate relationship with the material world.