Portret van een onbekende man en vrouw, aangeduid als Marie Grandes 1872 - 1873

Curator: What a striking portrait. Here we have Nadar’s “Portret van een onbekende man en vrouw, aangeduid als Marie Grandes,” created around 1872-1873. It's a gelatin-silver print held at the Rijksmuseum. My immediate response pulls me towards how it participates in larger romantic narratives of bourgeoisie relations and anxieties. What is your first impression? Editor: Well, my first thought? That poor woman's dress! All that fabric must have weighed a ton! But there’s a quiet confidence about her, doesn't seem like it's affecting her poise! Curator: Precisely! I think we can interpret that poise on several levels. The materiality, of course, communicates wealth and status, even control of material circumstances. Yet the formality also mirrors societal pressures on women in the period, a demand to maintain outward composure irrespective of her experiences or desires. Editor: You’re right. And it makes me wonder about their relationship. She's standing, he's seated, but she's resting her hand on him in such a deliberate gesture, you almost wonder if the photographer positioned her like that, and they would've preferred another. Curator: Nadar was known for his insightful portraiture, going beyond mere physical likeness to try to capture the essence of the individual, or in this case, individuals, especially thinking of shifting gender roles. This wasn't just documenting their physical presence but also their social roles and inner psychological landscape at the turn of the century! Her gentle domination through posing feels powerful! Editor: Absolutely, especially if the woman's position signals strength in their bond, which makes you ponder everything underneath, like a still pond obscuring its murky bottom... it makes this shot intriguing! Almost hinting at a challenge against expectations, which is amazing given that it's basically just your standard old portrait. Curator: In the context of his broader work and even society’s views on race, class, gender, even disability and immigration, you begin to view portraiture from intersectional dimensions. But this portrait certainly adds another layer to the history! Editor: What a great way to consider Nadar's piece and photography itself! Gives you plenty to contemplate outside the frame.