Gipsmodellen voor kariatiden op het Palais du Louvre door Joseph Pollet c. 1855 - 1857

Edouard Baldus captured these gypsum models for caryatids at the Louvre Palace, likely in the mid-19th century, using a photographic process. The photograph presents a symmetrical composition dominated by the vertical forms of the two caryatids, their draped figures exuding classical grace. The use of photography to document these models raises intriguing questions about representation and reality. The photograph flattens the three-dimensional sculptures into a two-dimensional image, altering our perception of form and space. Baldus's choice of lighting and focus emphasizes the texture and materiality of the gypsum, while simultaneously abstracting the figures from their original architectural context. This process of photographic reproduction invites us to consider the shifting status of the artwork itself. Is the photograph simply a document of the sculptures, or does it become a new artwork in its own right? The photograph doesn't just capture the sculptures' physical presence but also transforms our understanding of their cultural and aesthetic significance.