Gezicht op het Palazzo Pitti, de Boboli-tuinen en de Dom van Florence, Italië 1867 - 1874

Editor: Here we have Sommer and Behles’ "Gezicht op het Palazzo Pitti, de Boboli-tuinen en de Dom van Florence, Italië," a gelatin-silver print made sometime between 1867 and 1874. The high vantage point and subdued tones give it an air of almost… staged grandeur. What strikes you most about this work? Curator: Well, given my materialist lens, I immediately focus on the photographic process itself. This isn't just about representing a Renaissance cityscape; it's about the labor and material resources that went into producing this image. Think about the mining of silver for the gelatin-silver print, the manufacturing of the camera and lens. How do these material concerns shape our understanding of the image? Editor: I see what you mean! So, it's not just *what* is being photographed, but also *how* it was created and the resources it consumed? How would you compare this photograph to, say, a painting of the same scene from the same era? Curator: Exactly. With painting, we might focus on the artist's individual skill or vision. Here, we’re pushed to consider the collaborative nature of photographic production. There were darkroom assistants, suppliers of chemicals, and the socioeconomic conditions that allowed for the flourishing of photography as a commercial enterprise. This changes how we consider authorship, originality, and value itself. It challenges the romantic, singular artist ideal. Do you think the social context affects your perception of the artwork? Editor: Definitely. Thinking about it as a product of labor rather than solely artistic genius gives me a different perspective. I guess I hadn't considered all the hands, literally and figuratively, that went into making it. Thanks for that insight! Curator: My pleasure. Hopefully, we can both approach photography now with a broader understanding. Editor: Indeed! It is also useful to go deeper into the knowledge behind all materials!