Gezicht op Fausse Porte te Sélestat before 1894

Editor: So, this is Charles Bernhoeft's "Gezicht op Fausse Porte te Sélestat," a gelatin-silver print from before 1894. It depicts a cityscape with a large, looming tower. It feels a bit…stark, almost like a stage set waiting for a play to begin. What strikes you when you look at it? Curator: It whispers stories of time, doesn't it? That grand tower, anchoring the scene, feels almost like a sentinel guarding the passage of years. For me, this piece isn’t just about architecture; it's about the slow, persistent hum of daily life echoing through history. I'm drawn to how Bernhoeft uses light and shadow – like actors themselves! The strong contrast etches the details and yet evokes such softness and intimacy… almost a poignant longing. It has me wondering: what kind of lives pulsed beneath that archway? What do you think about that? Editor: I see what you mean. It makes me wonder, why this angle, this specific perspective? Was Bernhoeft trying to communicate something specific about the town? Curator: Exactly! He frames that Fausse Porte, literally the "false gate", as the protagonist. Look closely. It divides the town, almost creating two separate scenes. Perhaps it speaks of barriers both physical and maybe even psychological and emotional. Maybe the artificiality hints at how much we put up as artifice to separate us. Do you see it as an invitation to what’s behind, a warning to what comes from beyond, or a little of both? Editor: Wow, I never thought about it that way. The "false gate" isn’t just a structure; it’s a metaphor. It completely shifts how I perceive the image. I appreciate your sharing those thoughts! Curator: My pleasure. It's pieces like this that remind us that art, even photography, is always a dialogue, isn't it? It starts with the artist, but finds its real life, it’s actual soul in the eyes – and mind and heart – of the beholder. Thank you for making this conversation about "Gezicht op Fausse Porte te Sélestat" that much more interesting.