Gezicht op Parijs met de Arc de Triomphe by Albert Londe

Gezicht op Parijs met de Arc de Triomphe before 1888

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print, photography, gelatin-silver-print

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print

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landscape

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photography

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gelatin-silver-print

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academic-art

Dimensions: height 80 mm, width 144 mm

Copyright: Rijks Museum: Open Domain

Curator: Well, let's delve into this fascinating image. We have before us Albert Londe's "Gezicht op Parijs met de Arc de Triomphe," which translates to "View of Paris with the Arc de Triomphe." It's a gelatin-silver print dating from before 1888. Editor: My first thought? A ghost. The buildings seem to float. Ethereal and… distant, I guess? Curator: Interesting choice of words. Londe, in his time, was experimenting with photography, pushing its boundaries as both a scientific tool and an artistic medium. The graininess, which contributes to the "ghostly" effect as you say, is probably due to the limitations of early photographic techniques combined with the conditions he might have faced. Editor: Absolutely. You have to see that imperfection in the process as intentional— it lends the picture this dreamlike quality. It feels less like historical documentation and more like memory taking shape. Curator: Exactly. Think about the late 19th century, a period defined by rapid urbanization, social upheaval, and scientific innovation. Images of grandeur like this also served a civic function by visually participating in Parisian self-promotion, the city asserting its monumental grandeur amidst huge transitions. Editor: So, pure public relations. But on another level, I feel a poignancy. A world emerging? Fading? Like that building might fall off into its dark in the middle. I think this image works as a sign for what came before what it looked forward to in Parisian visual identity and art history. Curator: An excellent point, capturing the transient and subjective aspects of photographic vision within the context of urban self-representation. The picture prompts consideration to see how it contributed toward notions about nation-building then while allowing subjective experience to shape that engagement even now. Editor: It invites such wonder in not being quite there. That's magic—I like this thing. Curator: Absolutely, a work layered with historical intent and imaginative openness that can encourage meaningful engagement.

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