Portret van een zittende man met bakkebaarden en geruite broek 1860 - 1880

Editor: Here we have a gelatin silver print from somewhere between 1860 and 1880, “Portret van een zittende man met bakkebaarden en geruite broek,” which translates to “Portrait of a seated man with sideburns and checkered pants.” It's a rather serious, posed portrait. What can you tell me about this image? Curator: What strikes me is how this photograph encapsulates the evolving social identity of men during the Victorian era. Think about it: the sitter’s carefully cultivated sideburns and patterned trousers clash intriguingly with the rigidity of the formal portrait. What tensions do you think that might reveal about the period? Editor: Hmm, maybe a push and pull between tradition and individuality? I'm not sure. Curator: Exactly. Photography democratized portraiture, making it accessible to a growing middle class, not just the elite. This challenges the historical dominance of painted portraits of the upper classes. And those checkered pants! That speaks volumes. Think about sartorial choices as a form of silent rebellion. The man’s clothes serve as social code. Editor: So, in a way, it’s about asserting a new kind of identity, even within a very formal setting? Curator: Precisely. Consider the implications of capturing a person's likeness becoming more commonplace. Who got to be seen, how, and why? This photograph opens a conversation about power dynamics, representation, and the performance of self. What narratives are being constructed, and whose stories remain untold? Editor: I never thought of portraiture like this. It's making me think about what kind of statements we’re making with selfies today. Curator: Right, photographs can promote ideologies of the time and offer the possibility for critique. Considering power, gender, race and representation gives old artworks very modern qualities. Editor: Thank you. That puts the image into a completely new perspective.