Rouif. Léon. 27 ans, né à Villethierry (Yonne). Garçon boucher. Anarchiste. 1/3/94. 1894

Curator: This is a fascinating example of Alphonse Bertillon's work, specifically a daguerreotype taken in 1894 entitled "Rouif. Léon. 27 ans, né à Villethierry (Yonne). Garçon boucher. Anarchiste. 1/3/94." Currently it resides at the Metropolitan Museum of Art. Editor: What immediately strikes me is the neutrality. The subdued color palette and stark presentation lend a dispassionate quality. The subject’s expression is unreadable. Curator: That very neutrality is key to Bertillon's project. He was attempting to create a system of identification—a "speaking portrait" as he called it—for the purposes of criminal justice. This explains the almost clinical framing, the direct gaze. It's an exercise in photographic objectification. Editor: And the meticulous notation at the bottom further reinforces this objectification, transforming Léon Rouif from a person into a set of data points. Yet, paradoxically, the very act of labeling him an "anarchist" also imbues him with a specific cultural meaning, positioning him within a network of sociopolitical associations. Curator: Precisely. While Bertillon aimed for pure objectivity, the image cannot escape its context. The framing, the technique, and even the subtle tonality all contribute to a certain aesthetic, which inherently shapes our perception. The shallow depth of field draws attention to his face. Editor: I see that as well; notice how the blurred edges and sepia tones lend an archaic quality. Is he simply a subject captured by the new medium of photography, or a symbol of resistance? Perhaps, through the image, his identity as a 'garçon boucher' is forever fused with that of ‘anarchiste.’ He has a wonderfully large mustache. Curator: Indeed, a telling detail of its time. It's a compelling reminder that even within supposedly objective systems, symbols persist and meanings accumulate. Editor: Absolutely. Looking at this, I’m left thinking about how easily meaning can shift based on framing, historical context, and the enduring power of iconography.