Gezicht op het dorp Memphis in Egypte before 1905

Curator: Immediately striking, isn't it? There's a remarkable stillness, a certain quietude evoked through the composition and tonal range. Editor: Indeed. What we are observing is a photographic print entitled “Gezicht op het dorp Memphis in Egypte,” attributed to Maison Bonfils, dating to before 1905. It's an albumen print residing here at the Rijksmuseum. The label describes it as “View of the village Memphis in Egypt.” It undeniably evokes a mood, but what purpose was the photographer seeking? Curator: Formally, observe the layering; the interplay of near and far. Those majestic palms dominate the foreground—their textures and almost calligraphic fronds set against the muted horizon of the village across the water. The photographer created a fascinating depth using a single tone. The reflective surface of the river is not to be dismissed. Editor: And here we come to a potential crossroads. These carefully staged photographs served to shape perceptions. This is part of the Orientalist tradition in art. The serene and idyllic Memphis presented here would be sent to viewers back in Europe, subtly affirming a vision of exotic lands waiting for... influence, we shall say? The “quietude,” as you termed it, may mask an ideological positioning. Curator: Of course. The "orientalist gaze" cannot be denied in its production. But let us return to the sheer mastery of the medium, for a moment. Consider the light, not just for what it reveals, but what it conceals. Editor: Point taken. Even a polemical depiction can yield to the inherent beauty and form. Still, this form cannot be separated entirely from its function within that visual landscape of colonialism. The formal artistry served a cultural agenda. Curator: And vice versa: this cultural agenda made specific formal choices necessary. To distill: we appreciate, but we question. Editor: An appropriate balance to strike. Viewing becomes a more enriched act, does it not, when layered with questions?