Simon 2e; Lesage; Belmare; Balzon 1863

Editor: So this is "Simon 2e; Lesage; Belmare; Balzon," an 1863 albumen print photograph by André-Adolphe-Eugène Disdéri, currently at the Metropolitan Museum. The composition with multiple small images makes it feel like a visual encyclopedia of poses. What strikes you about it? Curator: I'm drawn to how these repeated poses function almost like ideograms, capturing not just the appearance but the very essence of each character within their performance. What kind of cultural memory does it invoke for you? Editor: I think about ballet and theatre and how they reflect broader social dynamics – the way men and women are presented, for example. Do you think this photograph reveals similar social structures of the time? Curator: Absolutely. Disdéri uses the poses to speak volumes about gender roles and social standing. Notice how certain gestures convey submissiveness, others assertiveness. Think of how posture, expression and gesture create almost universally understandable concepts. But does this image challenge the notions you have of 1863 or confirm them? Editor: I guess it confirms them, with the very strict gendering happening in the clothing and positioning of the subjects. It does also make me think about how visual forms preserve ideologies. Curator: Exactly! These photographs were consumed as representations of their time, reinforcing certain social narratives and contributing to collective cultural memory. What do you think, then, about its impact in contemporary eyes? Editor: It highlights how art acts as a cultural artifact, consciously or not. It makes you think about both the universal and deeply coded elements in these photos. Thanks! Curator: My pleasure, recognizing that photographs function as a visual vocabulary encoding both ephemeral and enduring stories.