Gezicht op de bergen van de Preanger op Java before 1894

Editor: Here we have "Gezicht op de bergen van de Preanger op Java," which translates to "View of the Preanger Mountains in Java," created before 1894. It appears to be a photograph reproduced in print. The scene feels vast, but also somehow… contained, like looking at a diorama. What strikes you most about it? Curator: It's important to remember that this image emerges within a specific historical context: Dutch colonialism in Indonesia. While seemingly a benign landscape, it's intertwined with the politics of representation. How do you think the depiction of the landscape serves the colonial project? Editor: I suppose showcasing the "beauty" of the colony could encourage further exploitation? Make it seem more desirable, less about the realities for the local people. Curator: Exactly. The seemingly objective eye of the camera can be used to create a specific narrative. Think about the choices made: the viewpoint, the framing, the emphasis on certain elements. It emphasizes the natural resources, the expanse of land ready for development and resource extraction. Who do you imagine was the intended audience for this image? Editor: People back in the Netherlands? To show them what their empire encompassed, what they 'owned'? Curator: Precisely. And consider how the lack of any visible Javanese presence contributes to that narrative of possession and control. The mountains are beautiful, yes, but this is also a claim about power. What have you gleaned from this that you might not have otherwise noticed? Editor: I had assumed this was purely landscape art and didn't question it further, but that the photographer probably had more intention beyond just taking a pretty photo, considering the political climate. Curator: It’s a good example of how understanding history complicates our viewing experience, making us more critical consumers of imagery.