Twee mannen op de spoorbrug 'Trestle Bridge' over Long Ravine in Californië, een deel van de Central Pacific Railroad by Thomas Houseworth

Twee mannen op de spoorbrug 'Trestle Bridge' over Long Ravine in Californië, een deel van de Central Pacific Railroad 1871 - 1875

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photography, albumen-print

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landscape

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photography

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hudson-river-school

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cityscape

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genre-painting

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albumen-print

Dimensions: height 87 mm, width 176 mm

Copyright: Rijks Museum: Open Domain

Editor: Here we have a stereo photograph by Thomas Houseworth, dating somewhere between 1871 and 1875. It’s called "Two Men on the Trestle Bridge over Long Ravine in California, a Part of the Central Pacific Railroad.” The bridge itself dominates the image; those slender, almost spindly, wooden supports look so fragile! It gives me a feeling of precariousness, you know? What leaps out at you about this photograph? Curator: Ah, precariousness! Yes, that tension is delicious, isn't it? I see echoes of the Hudson River School painters in this landscape – that grand sweep of nature. But instead of celebrating untouched wilderness, we have this assertive act of human engineering carving through it. And those tiny figures! Do you notice how they seem almost dwarfed, yet they stand there with a sense of accomplishment, of dominion, maybe? I wonder, what were they thinking as they stood on that precipice? Did they feel that "delicious" tension, too? Editor: That's a great point! I was so focused on the bridge, I almost missed the deliberate act of "being there" for the camera! Like, "we built this!" It completely changes the context, I guess. It’s no longer just about technology versus nature… it’s also about ambition and pride, right? Curator: Precisely! It's a delicate balance. Ambition, perhaps tinged with a hint of… what? Hubris? That bridge becomes a symbol. Of connection, of progress, yes. But also, a rather pointed reminder of the audacious reach of human endeavors, both inspiring and, perhaps, a little worrying. Editor: Worrying… because it tamed nature? Curator: Or maybe it presumed to *improve* upon it. Still, Houseworth really captured the turning of an age, in a way I feel viscerally, not just intellectually. Editor: I agree! I’ll never look at another photograph of a bridge the same way. It is way more complex than I initially assumed. Curator: Exactly, dear friend! A testament to the simple yet profound complexities held captive within one frame, once our hearts and minds truly decide to perceive!

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