Twintig portretten van Mademoiselle Soukaret, Mademoiselle Lambach en Mademoiselle Rhodes before 1892

Curator: Here we see a page from an album of photographs, dating from before 1892, attributed to Nadar. The album, held at the Rijksmuseum, features twenty portraits of Mademoiselle Soukaret, Mademoiselle Lambach, and Mademoiselle Rhodes rendered as albumen prints. Editor: It's fascinating to see these three women captured in a grid format! The lighting across each photograph is expertly even, enhancing our reading of each individual's pose and sartorial splendor. But there's also an almost unsettling uniformity, like mugshots of society ladies. Curator: Fascinating point. The formal structure itself echoes practices of cataloging, presenting them as types as much as individuals. Look at how Nadar arranges the sitters. We have close-ups, full-length stances, profiles... Editor: Yes! They seem to be placed almost mathematically in relation to each other, the veiled image, say, juxtaposed with those featuring elaborate millinery, and this repetition gives a specific psychological impact. Each item of clothing becomes an element of iconography: lace, a brooch, a bow—these were intended to communicate much about the wearer. Curator: Indeed, each item signals social standing and individual persona through deliberate visual markers, which form a key aspect of the overall composition. Notice the high contrast achieved through the albumen process which enhances details but reduces the emotional depth of the rendering... Editor: However, there is some diversity. Consider the directness in their gazes. Each woman communicates an active presentation of self. Some have turned to face the camera, but others hold their heads high looking elsewhere, or demurely avoid eye contact. In essence, it reflects society's multifaceted idea of women. Curator: True, although this apparent individuality occurs within very constrained poses dictated by studio protocol, they present varied modes of comportment. As a formal study, the piece gains intrigue from both structural choices, and nuanced articulations of individuality... Editor: Yes, Nadar really pushes the boundaries by encapsulating cultural ideals through visual symbols that give psychological cues. It truly encapsulates more than just portraits of Mademoiselle Soukaret, Mademoiselle Lambach, and Mademoiselle Rhodes.