[Robert Hannah] 1860s

Editor: This portrait of Robert Hannah, taken in the 1860s by John and Charles Watkins, seems so deliberate, doesn't it? It feels more timeless than trendy, given the soft focus and the subject's intense gaze. What can you tell me about its historical context? Curator: The choice of photography itself during the 1860s, during the peak of the Romantic movement, says a lot. It’s a fascinating intersection of new technology and established aesthetic preferences. Before photography, portraiture was largely the domain of the wealthy; photography democratized image-making, making it accessible to a broader public. Who had access and could afford these portraits, and who could not? Editor: That makes sense. I hadn't thought about the economics of image-making then. The photographic process must have influenced the poses and presentation as well, right? Curator: Absolutely! The sitter had to be perfectly still, of course. This demand affected the types of expressions and compositions artists could make. This aesthetic became so ingrained, think about its lasting effect even after photographic technology had developed. This connects directly to questions of power and representation during that period. Editor: So, a portrait wasn't just about capturing a likeness but also about signaling certain social values? Curator: Precisely! And the choices made by the photographer – the lighting, the angle, even the development process – all contribute to that message. The photographic studio also acts as its own social institution with an agency shaping photographic trends. Editor: Thinking about the societal influences adds a whole other layer to appreciating a seemingly simple photograph. Thank you. Curator: My pleasure. Hopefully, this dialogue inspires our listeners to question the power dynamics behind art in museums, especially the ones that are unseen!