Portret van een onbekende man, staande naast een tafel 1864 - 1910

Editor: Here we have a gelatin-silver print by Pieter Wilhelmus Roemer, titled "Portret van een onbekende man, staande naast een tafel," dating from sometime between 1864 and 1910. I'm struck by how staged it feels, and a little sad, too. What aspects jump out to you? Curator: The materiality of this gelatin-silver print points us toward understanding photography's democratization in this period. Consider the economic shift. Suddenly, portraiture isn't just for the elite commissioning painted portraits. Photography created a boom in studios catering to a burgeoning middle class. Editor: That’s a great point! I hadn't considered the broader impact beyond just the visual. How accessible would something like this have been at the time? Curator: The carte-de-visite format – a small, affordable print – facilitated widespread distribution and collection. Examining Roemer's studio in this context, we can see the rise of photographic entrepreneurs responding to and shaping a new market for images. Do you notice anything about his costume? Editor: Well, it seems typical of the time…a three-piece suit, simple. But, following your point, what would such a garment and the textile production signify about labour and societal norms at the time? Curator: Exactly. His outfit, produced in ever-larger quantities by textile mills, suggests a departure from bespoke tailoring towards ready-to-wear clothing. Mass production altered class boundaries as fashionable attire became accessible to wider portions of society. Consider the social impact implied in the image, how photography reshaped aspirations. Editor: That is helpful, and I had not thought about it this way before! The process, materials, production… It adds so many layers! Thank you for sharing that perspective! Curator: It is crucial that we remember artistic production exists inside –and actively informs– economic realities. Glad I could offer you that lens!