Gezicht op het Collège Saint-Michel in Fribourg 1897

Editor: Here we have Ernest Lorson's "Gezicht op het Collège Saint-Michel in Fribourg," a print from 1897. It depicts a stately building nestled into the landscape. It's serene, almost… nostalgic. What do you make of this work? Curator: The nostalgic feeling you describe is powerful. Considering the historical context, this image, captured through the lens of pictorialism, romanticizes the college. But let's dig deeper: who had access to institutions like Collège Saint-Michel in 1897? What social hierarchies are subtly reinforced through this idyllic depiction of privilege? Editor: So, it's not just a pretty picture. You’re suggesting that the image might reinforce social inequalities of the time? Curator: Precisely. Think about photography's burgeoning role then. Who was being photographed, and whose stories were being told? How might this image have been used to project a certain image of power and stability, perhaps obscuring other, less flattering realities? Consider its stylistic choice too: pictorialism valued soft focus, almost painterly effects, which might further contribute to an idealised image of the college. What do you think? Editor: I see your point. It makes me wonder what life was like for people who weren't part of that privileged world, whose experiences are absent from this seemingly calm landscape. Curator: Exactly! The absences are often as telling as what's present. By examining what’s missing – the stories and perspectives of marginalized communities – we can start to unravel the complex power dynamics embedded within this seemingly simple image. It reflects an important historical blindspot. Editor: This makes me see it very differently. It’s a reminder that art can be a powerful tool, even when it seems peaceful. Curator: Absolutely. It’s a testament to the power of critically engaging with art. Questioning, contextualizing, and considering whose voices are amplified, and whose are silenced, is essential.