Gezicht op Zermatt met de Matterhorn 1897

Curator: Standing before us is a photograph from 1897 entitled "Gezicht op Zermatt met de Matterhorn," now residing here at the Rijksmuseum. Editor: My first impression is its stillness. The monolithic form of the Matterhorn dominates, yet there’s a quiet, almost reverent atmosphere permeating the scene. Curator: That sense of stillness you perceive is enhanced by the photographer's engagement with Pictorialism, an approach in photography which valued artistic effect over technical precision. Notice how photography at this time saw itself in competition with other reproductive media like printmaking. Editor: It's more than just effect; the entire composition draws my eye upwards. The contrasting dark and light bands draw an ascending dynamic from the village toward the distant peak. It feels like a formal exploration of how light shapes perception, doesn't it? Curator: I agree. Now think about the Victorian and early modernist fascination with landscape – especially mountains. Mountain climbing was becoming a kind of hobby for some wealthier tourists, but what did that mean for local workers? What was the nature of labor like for those living and working around Zermatt, supporting that early tourism? The sublime experience wasn't available to everyone. Editor: That's a crucial perspective to acknowledge, it’s also impossible to ignore the careful selection of light to enhance details in the rocks or the way that tonal shifts describe form in the Matterhorn. These elements structure a narrative, even before we get to those social and labor implications. Curator: Precisely. And that structured narrative served to support an idea that this area was pristine, untouched, ripe for exploration. The labour involved to construct hotels or to even get to these picturesque settings are concealed. Editor: Concealment is part of the formal strategy, and a lens to consider it through...I leave seeing this photograph now with different eyes, I think, thank you for pointing me towards Pictorialism! Curator: And I appreciate you illuminating the photographic language, as it structures so much of what those labourers were up against!