Trap naar de Heilig Grafkerk in Jeruzalem 1867 - 1885

Curator: This is Fèlix Bonfils' "Trap naar de Heilig Grafkerk in Jeruzalem," or "Stairway to the Church of the Holy Sepulchre in Jerusalem," dating from between 1867 and 1885. What’s your first take on it? Editor: It’s evocative. I feel a real sense of place, a sense of the everyday unfolding in this very particular corner of Jerusalem. The sepia tones really emphasize the weight of history. Curator: Precisely. Consider how the composition directs our gaze, forcing our eyes to trace those steps up to the obscured doorway of the church itself. The lines, the perspective… they all contribute to a feeling of reverence, leading the eye upwards. Editor: And yet, the stairs are also a place of commerce. Note the figure seated, presumably a vendor, with his wares laid out. It is intriguing that faith and commerce coexist so palpably here. And albumen print; quite an involved method. Think of the labor invested in preparing the paper, sensitizing it. Curator: Absolutely. The materiality of the albumen print lends a particular texture, a subtle gloss to the image. Bonfils’ mastery here comes from his capability to convey the sense of light and depth, creating layers in a monochromatic palette. See the slight gradation as your eye ascends those steps? Editor: Exactly, Bonfils wasn’t merely documenting the stairs; he was presenting a nexus of lives, faiths, trades—all bound to this singular location. Considering the social context in which Bonfils was working, it’s fascinating to ponder his perspective as an outsider capturing this scene, especially considering the Orientalist lens so prevalent at the time. Curator: It is, undeniably, a representation viewed through a European lens. Yet, the photograph's power persists, inviting our contemplation and debate concerning these formal qualities as well. Editor: Indeed, reflecting upon the artist’s methodology provides an intriguing pathway into comprehending our cultural narrative of this site.