Drie porceleinen vazen 1860 - 1900

Editor: We're looking at a photograph called "Drie porceleinen vazen," or "Three Porcelain Vases," taken sometime between 1860 and 1900 by Alexandre, a photographer. It's a study of ceramic objects. What stands out to me is the contrast between the delicate porcelain and the stark, dark backdrop. What do you see in this composition? Curator: The interplay between light and shadow is indeed striking, underscoring the volumes of these vases. I am drawn to the meticulous detail rendered in this photographic print, observe the tonal range achieved using light. Consider how the symmetry, ABABA, structures the image. What effect do you think that repetition creates? Editor: The repetition almost feels like a deliberate mirroring, adding a sense of formality and order. It directs your gaze to the minute changes between each vase, each repetition seems to want you to pause and compare the elements of the design in contrast. Does the photographic process itself add another layer to our understanding of the artwork? Curator: Precisely. The photographic medium is critical to interpreting these material objects; this artistic choice emphasizes flatness in certain locations on the vases and contours at others; which alters depth cues we might experience looking at them physically. It also creates a unique sense of timelessness by converting material to image; an abstraction, of form through the medium of light. Editor: So, it's not just about seeing the vases themselves but understanding how the photograph transforms them. Thank you for bringing all this to my attention, your point of view has given me an insight on how medium constrains the perception. Curator: Indeed. These vases photographed in front of this ground reveal the capacity of both vase design, and photography itself.