Fotoreproductie van een gezicht op het offeren bij het Forum in Pompeï by Anonymous

Fotoreproductie van een gezicht op het offeren bij het Forum in Pompeï before 1895

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print, photography, albumen-print

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print

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greek-and-roman-art

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landscape

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photography

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ancient-mediterranean

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column

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cityscape

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albumen-print

Dimensions height 121 mm, width 188 mm

Editor: So this is "Fotoreproductie van een gezicht op het offeren bij het Forum in Pompeï," a photograph, likely an albumen print, taken before 1895 by an anonymous photographer. It shows a classical scene, probably staged. The light is quite beautiful, giving it an almost dreamlike quality. What do you make of it? Curator: I see a meticulously crafted image, revealing the complexities of early photographic reproduction. Consider the albumen print: thin paper coated with egg white and light-sensitive chemicals. This process transformed photography into a widely consumable artifact, democratizing access to images of art and archeological sites like Pompeii. It also demanded a lot of human and nonhuman labor. Who collected and processed the eggs? How were these often toxic chemicals synthesized and handled? Editor: That's a really interesting way to approach it. I was focusing more on the art historical aspects, but thinking about the labor behind its creation makes it more grounded, somehow. Does the mass production aspect change your perception of the image? Curator: Absolutely. These weren’t singular artistic visions in the traditional sense but reproducible commodities tied to complex industrial processes and evolving notions of leisure and knowledge consumption. How were these prints distributed and consumed? Where did they end up? What kinds of knowledge were they creating, or obscuring? The image serves less as a window onto Pompeii and more as a mirror reflecting back at the society producing and consuming it. Editor: So it becomes less about ancient Rome and more about 19th century industry and distribution? Curator: Precisely. The artistry here lies not just in composition, but in the material choices, in the printing process, in the network of labor that enabled its existence. This reproduction, in its materiality, tells us more than just about Pompeii, don't you think? Editor: Definitely. I’ll never look at old photographs the same way again. Thanks for your insight.

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