Fotomontage van vijf gezichten in Québec before 1894

Curator: This is a page from an album containing photographic prints of Québec, likely dating to before 1894, by Jules-Ernest Livernois. It’s titled "Fotomontage van vijf gezichten in Québec", or "Photomontage of Five Views in Québec". Editor: It strikes me as a fascinating window into the past! The composition is quite intriguing; the arrangement of images creates a collage effect that emphasizes distinct scenes. The contrasting blacks and whites gives a clear, graphic quality, making it look quite modern despite its age. Curator: Precisely! Livernois, with works like these, documented the evolving landscape of Québec. Here we see not only aesthetic choices, but decisions concerning photographic methods during a critical phase for this technology. He was both a producer and entrepreneur of photography. The albumen print, in particular, reveals aspects of its specific chemistry and processes, involving labor, from creating negatives to applying egg white as a binder for light-sensitive silver salts. Editor: Looking closely, one appreciates how each image’s composition is carefully selected to highlight unique elements. Notice the contrast between the panoramic vista from 'Place d’Armes' and the close view of St. John Street, how this dictates a viewing pathway! This sequencing influences our reading of the represented cityscape. The textures, created by the albumen print, further highlight these areas of focus. Curator: His process allowed for wider distribution of these kinds of images, playing a significant role in shaping visual culture and potentially boosting tourism for Québec City. These weren’t created in a vacuum; Livernois sold these images, meeting market demands and feeding a developing consumer culture keen on souvenirs. Editor: Thinking of his choice of arrangement, this asymmetrical placement—the five photographs almost bursting from the page—emphasizes particular perspectives. One has a beautiful circular photo set inside ornamental floral features which gives emphasis on shape and symmetry despite the irregularity of its layout within the album. Curator: So this montage offered accessible glimpses into Québec life, but we see Livernois’ commercial goals intertwined with an artistic, creative output. Editor: I appreciate the work from this dual perspective, how each photograph communicates on an individual level and, furthermore, how they speak as a unified expression. The artist brings the landscape to life through its visuality, material history, and manufacturing means, altogether leaving the viewer contemplating a sense of space and era long past.