Landschap met bergen en rivier te Altenahr 1896

Curator: Here we have a landscape photograph from 1896 by Anselm Schmitz, titled "Landschap met bergen en rivier te Altenahr" Editor: It's dreamlike, almost faded like an old memory, isn't it? The tones are so soft, blending buildings, and nature. Curator: Indeed. The softness comes in part from Schmitz's engagement with impressionistic principles, although his grounding is undeniably in realism. Landscape photography at the fin de siècle was navigating those currents. Note how the photographic process itself, in this historical moment, imparted its own qualities to the image. Editor: You can almost smell the darkroom chemicals. I'm particularly drawn to how the bridge is integrated. Not a triumphant feat of engineering, but something almost organic reaching across the river. Curator: Yes, consider how that infrastructure, that human intervention, plays against our conception of the Romantic landscape and burgeoning industrialism of the time. Altenahr, like many beauty spots, was being increasingly consumed by tourism. This photograph participates in promoting the allure and charm of these localities, as the development around them intensified. Editor: Which raises questions, doesn't it? Who are these landscapes *for*? This is, I imagine, an expensive process. And those who could afford to participate in the experience captured, might also dictate the kind of landscape imagery being made available. Curator: Exactly! And we see Schmitz positioning himself, through exhibitions and photography clubs, in this emergent market and tourist culture. The image isn't just *of* Altenahr, it's an advertisement for a particular vision of it. The work romanticizes a space facing significant change. Editor: I was first struck by the dreaminess, but looking closer, you are right - there is also commerce here. It is almost more poignant now knowing there’s this blend. Curator: Precisely, layers of representation, material, and social intent all bound in this seemingly serene image.