Schepen in de haven van Málaga 1862 - 1876

Editor: Here we have "Schepen in de haven van Málaga" by Jean Andrieu, made sometime between 1862 and 1876. It’s a gelatin-silver print photograph, and I find the composition to be incredibly dense. It's a cityscape but it's completely dominated by these massive ships and their rigging. What do you make of it? Curator: The beauty lies precisely in that density. Note how Andrieu has used the geometric lines of the masts and rigging to create a complex web that draws the eye upwards. It is a fascinating juxtaposition of organic and inorganic forms, a kind of organised chaos. Editor: Organised chaos - I like that description! But it’s also…flat. The foreground, middle ground, and background almost merge. Is that intentional, perhaps reflecting an interest in Japonisme? Curator: Precisely! The flattening of perspective, so characteristic of ukiyo-e prints, is evident here. Consider how the tonal range is deliberately narrow. Andrieu forgoes deep shadows and highlights in favour of a more uniform, ethereal light, contributing to this flattening effect. Editor: So it's not a flaw, but a choice, leaning into a particular style. Did the stereoscopic format also influence the final visual impression? Curator: A key question to explore, yes. This format enhances the sense of depth, inviting close inspection. However, it equally draws attention to the flatness of composition that we just examined. Editor: That’s fascinating; the stereoscopic view emphasizing flatness instead of depth. I had never thought of that. Thank you. Curator: Indeed. By embracing flatness within a form that otherwise implies three-dimensionality, Andrieu subtly disrupts conventional modes of perception. The photograph, in its way, becomes an exercise in deconstructing the illusion of reality.