Bomen before 1903

Curator: Look at these fascinating photogravures by Hans Watzek titled 'Bomen,' dating back to before 1903. Editor: My immediate sense is one of serene melancholy. The tonal range, the stark contrast, really pulls at something primal within. Are we looking at documentation, or something more composed? Curator: The interesting aspect of Pictorialism, as evidenced here, is this ambition to elevate photography to art through manipulation. What strikes me are the almost tangible surfaces Watzek achieves with his materials. Think of the artist as alchemist, transforming mundane landscapes into poignant arrangements. Editor: And the manipulation! Crucial for understanding how boundaries blur between technology and artistry, particularly when considering the cost of labour involved with each carefully posed shot and each printed image. We're considering materiality not only of the scene, but of the social structure within it too. Are the trees natural elements, or are they crops, indicative of agricultural economies and societal wealth? Curator: A powerful point, shifting perspective from aesthetic to material history. For me though, that band of white birch trunks evokes such clarity, each stroke feels purposefully rendered as one might approach a painting rather than photography. Editor: What seems timeless today likely speaks directly to the material and economic contexts when it was created. Understanding process helps to peel back the aestheticization. Curator: Ultimately, Watzek wanted to tap into our shared language. It’s an evocative landscape seen through a unique aesthetic lens, wouldn't you say? Editor: Yes! Though the surface allure should really entice one to delve beneath its sheen to explore questions about labour, capital and modes of early photographic production.