Gezin van Loentje Onnen in Parijs, Tervuren, Brussel en Schaarbeek 1912 - 1914

Editor: This is "Gezin van Loentje Onnen in Parijs, Tervuren, Brussel en Schaarbeek" – made between 1912 and 1914, it’s a photographic album page by Carolina (Loentje) Frederika Onnen. The muted tones give it a wistful feel, like looking at memories through time. What do you see when you look at it? Curator: I see a carefully constructed narrative, or rather, fragments of a narrative. We're presented with images tied to specific places - Paris, Tervuren, Brussels, Schaerbeek. Each locale holds stories, doesn’t it? But it is a family album, so whose story is it telling? Editor: Loentje Onnen’s story, presumably? She compiled it. Curator: Perhaps. But think about it: photography, even personal snapshots, can be acts of power. Who chooses what is documented, what is included, and excluded? These aren't candid snapshots. They're carefully chosen scenes, evoking a bourgeois lifestyle. How does that curation influence our understanding of women's role during this period? Editor: So, you’re suggesting this album isn't just a record of places but also a statement about identity and perhaps even a form of self-assertion? Curator: Precisely. Consider the historical context. Early 20th-century women were forging new roles. These seemingly innocent photographs might subtly challenge societal expectations by documenting the Onnen family in different social settings. Could it be read as Onnen’s way to inscribe her family and herself into those places and social identities? Editor: I never considered photography could carry so much weight in terms of cultural context! Curator: Art, even in the form of a humble family album, reflects and shapes our understanding of the world. Editor: Definitely gives me a new perspective when thinking about older photos and family collections!