Gezicht op Beaulieu-sur-Mer en de wijk Petite Afrique c. 1870 - 1900

Editor: So, this is Étienne Neurdein's gelatin silver print, "Gezicht op Beaulieu-sur-Mer en de wijk Petite Afrique," dating from around 1870 to 1900. It's a very calm scene, almost meditative, with the way the water meets the shore and rises into the mountains. What stands out to you? Curator: The scene evokes a sense of the idyllic, wouldn't you agree? Beyond just a record of a place, consider what "Petite Afrique" *means* in the context of late 19th century Europe. This is a carefully curated, palatable image of a location made exotic. It hints at colonialism, at the collecting of "other" places for European consumption. Editor: That's interesting. I hadn't considered the colonial undertones. So the "Little Africa" isn't just a descriptive name. Curator: Names rarely are! Think about the symbols here: the carefully constructed vista, the way the wildness of the mountains is tamed by the neat, ordered buildings. It speaks of a desire to control nature, mirroring perhaps the desire to control other cultures and territories. Consider the cultural memory encoded in these photographic choices. What aspects do you think invite the viewer into this fantasy? Editor: I think it’s the light. It softens everything, making it picturesque and inviting. There’s a real sense of serenity… until you consider that the image is essentially about claiming a place, as you mentioned. It’s a lot to unpack from what seems like a simple landscape. Curator: Exactly. Photography like this can reveal not just how places looked, but how they were imagined, desired, and ultimately, possessed. A perfect example of the psychological weight images carry over time! Editor: Definitely given me a lot to think about regarding photography's role in shaping perceptions of place and culture. Thanks for shedding light on it!