Chicago River from Rush Street Bridge c. late 19th century

Editor: Here we have John Carbutt’s "Chicago River from Rush Street Bridge," likely taken in the late 19th century. The albumen print shows a bustling cityscape, but the sepia tones and the sheer number of sailing vessels give it such a still, antique feeling. What can you tell us about it? Curator: Focusing on the composition, we observe a structured arrangement. The verticals of the masts are in stark contrast to the horizontal bridge, delineating space. This creates a complex interplay of lines and planes. How does this structured contrast inform your understanding? Editor: Well, it does give it a certain tension, like the natural world of the river is being contained by the human-made architecture around it. The diagonals of the ship rigging cut across both of those though. Curator: Precisely. The diagonals disrupt any potential for rigid formality. Consider the materiality of albumen prints themselves; the soft tonal range imbues the sharp detail with a sense of atmosphere. Note, too, the scale relationship between the figures and the imposing architectural forms. Do you see how that plays into our perception? Editor: Yes, suddenly the individuals standing along the bridge seem so small and momentary in comparison. Curator: It becomes a study in contrasting scales and geometries, which speaks to the changing relationship between the city's inhabitants and the burgeoning urban landscape. What does that emphasis on structure convey to you about the artist's intent? Editor: I’m seeing how the formal qualities really underscore the tension between nature, burgeoning technology and everyday life during this time period. Curator: Indeed. By attending to these formal arrangements, we unlock a greater understanding of how artists are picturing this period of change.