Opening van het tentoonstellingsgebouw van Crystal Palace te Sydenham 1862 by G. Dowler

Opening van het tentoonstellingsgebouw van Crystal Palace te Sydenham 1862 1862

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print, relief, bronze

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allegory

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print

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relief

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classical-realism

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bronze

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cityscape

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history-painting

Dimensions diameter 7.4 cm, weight 121.44 gr

Editor: This is a fascinating object! It's a bronze relief print from 1862 by G. Dowler, titled "Opening van het tentoonstellingsgebouw van Crystal Palace te Sydenham 1862". The imagery feels both celebratory and a little… staged. It seems to be referencing classical figures. What symbols stand out to you? Curator: Immediately, the pairing of classical allegorical figures on one side with the Crystal Palace itself on the other jumps out. Do you notice how those figures—with their emblems of progress and peace—are placed deliberately in contrast, yet connected, to the architectural marvel? What sort of values do you think that architectural marvel was trying to promote, especially after the first highly successful Great Exhibition of 1851? Editor: I see your point, that classical idealism melds with industrial ambition. The building almost becomes a symbol in itself, not just for industry, but for… something grander? A new era? Curator: Precisely. Note how the phrase around the building states ‘The might of Industry, the glory of peace’, invoking classical values while simultaneously staking its place in modernity through industrious means. That calculated visual dialogue between historical symbolism and the celebration of industry suggests a profound belief in progress, technology and even colonial exploits. Editor: So, it's not just about showing the building; it’s about what it represents in a larger historical narrative, weaving progress with classicism? I never thought about that. Curator: Consider the image’s longevity. A print immortalizes not just an event, but the ideas connected to it, continuing cultural memory far into the future. Every visual element tells a carefully constructed story meant to resonate for generations. What happens, then, to these ‘facts’ as interpreted later on? Editor: This makes me want to revisit other monuments with these elements in mind. I have a whole new appreciation for how prints function within society. Thanks so much! Curator: Indeed. It prompts questions about the evolution of symbols, how their meanings shift with time, and how visual representations reinforce societal beliefs. That's cultural continuity, after all.

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