Winterlandschappen Possibly 1937

Curator: These are a set of gelatin-silver prints mounted in an album, attributed to Herman Besselaar and possibly dated to 1937, titled "Winterlandschappen," or "Winter Landscapes." They have a stark, haunting quality, wouldn’t you agree? Editor: Absolutely. They evoke a sense of isolation and stillness. I am struck by the monochrome palette; it’s very subdued and minimal. Almost as if winter has drained all color. What stands out to me are the different cropping choices, I wonder about them… Curator: Thinking about process, consider gelatin-silver printing itself. The method allows for a wide tonal range, key to this particular aesthetic Besselaar achieves. But it also allows for relatively easy reproduction and manipulation in the darkroom, so how might the ability to make multiples influence the perceived value, even the consumption, of these images? Editor: That’s interesting… and taking into account their potential distribution and audience, the images seem to reinforce particular views about landscape—of control and quiet observation, while potentially erasing traces of labor, ownership, and human impact… What could these depictions of Plaswijck in “winter dress” really say about that time period? What sociopolitical realities might underlie such choices in subject matter and presentation? Curator: Precisely. Were they perhaps responding to urban development, creating idealized pastoral scenes? The sharp focus and controlled tones indicate that the process— the tools, methods, and material possibilities—were crucial in achieving Besselaar's artistic intentions. There's a tension, then, between nature itself, the means to capture and manipulate it, and our understanding of it. Editor: I find that tension quite revealing. The use of gelatin silver aligns it historically, offering clues regarding its cultural moment. It becomes a testament to place, identity, but also to larger themes that are relevant even now. Winter can signify scarcity and the harsh realities that aren't necessarily equally felt. Curator: Well put. Ultimately, examining these photographs requires consideration not just of the artistry, but also the materials, the methods, and the conditions of their making and reception. Editor: Agreed. It makes these still, silent scenes speak to the louder narratives happening just outside of the frame.