Militairen bij de begrafenis van drie gevallen militairen 1941 - 1945

Editor: This gelatin silver print, taken between 1941 and 1945 by an anonymous photographer, is titled 'Militairen bij de begrafenis van drie gevallen militairen' - or, 'Soldiers at the Funeral of Three Fallen Soldiers'. The greyscale gives the photograph a very somber tone, reinforced by the arrangement of the figures. What strikes you most about its composition? Curator: The organization of pictorial elements creates a compelling, albeit mournful, visual structure. Observe how the stark contrast between the foreground and background establishes a pronounced spatial depth, guiding the viewer's eye towards the focal point: the graves. The geometry of the crosses provides not just a somber symbolism, but organizes depth into the photograph using structural repetition. The uniformity of the soldiers, arranged in the background, is also notable. Editor: That's interesting! I hadn't really considered the spatial arrangement. So, you see the composition itself as speaking to a sense of order even in mourning? Curator: Precisely. The rigorous, almost architectural, structuring of the scene emphasizes the themes of duty and collective sorrow. Notice how the artist does not provide access to the emotions of the soldiers; the formal composition and the structural use of tone becomes a method of engaging with themes of sorrow without descending into melodrama. Also, let’s think about the qualities inherent in photography – the indexicality of the medium. What meaning can we extract from it? Editor: The use of photography adds another layer - a direct recording, further highlighting the realities and losses during this historical moment. I see what you mean; it really draws attention to its existence as a memorial, in and of itself. Thank you! Curator: Indeed. Reflecting upon its inherent qualities allows us to see beyond the simple depiction of a historical moment, granting us the capability of assessing the artistry embedded within its form.