Weggeslagen oever langs een pad in Parijs by G. Dangereux

Weggeslagen oever langs een pad in Parijs 1910 - 1911

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Dimensions: height 52 mm, width 60 mm

Copyright: Rijks Museum: Open Domain

Curator: This evocative image is by G. Dangereux. Titled "Weggeslagen oever langs een pad in Parijs," which translates to "Washed Away Bank Along a Path in Paris," it was taken sometime between 1910 and 1911. Editor: A somewhat somber scene, isn't it? The muted tones, almost monochromatic, create a feeling of desolation. The eye is immediately drawn to the contrast between the textures: the chaotic piles of earth versus the flat surface of the road. Curator: Indeed. And Dangereux captured this particular scene at a moment of intense urban change. Consider the political undercurrents—Paris was in a state of near-constant reconstruction during that era, reflecting rapid industrial growth and the social inequalities it fostered. Who did that 'washed away' riverbank affect? Editor: I'm struck by the composition, though. Notice the strong diagonal line formed by the road and the bank, leading the eye towards the indistinct figures in the distance. It provides a sense of depth, albeit a somewhat unsettling one. The use of light and shadow, despite the muted palette, creates distinct forms and imbues depth in a beautiful way. Curator: The 'path', the 'bank'...this resonates with themes of marginalization that existed within city limits, both literal and figurative. Where do people living along that embankment fit in this idealized version of city life we associate with "Paris"? Editor: Yes, but Dangereux’s employment of leading lines isn’t merely illustrative; it functions to draw the viewer in. Even with the construction and displacement represented in this photograph, the way Dangereux balances the composition lends an ethereal beauty, don’t you agree? Curator: I can agree it has visual strength, but I remain interested in how it reveals who gets displaced, and who profits in this narrative of "urban progress". Editor: Absolutely valid. We see Dangereux has given us an entry point into layers of thought, with strong consideration in compositional and material approach.

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