Portret van een onbekende vrouw by George Downes

Portret van een onbekende vrouw 1866 - 1885

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paper, photography, albumen-print

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portrait

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paper

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photography

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albumen-print

Dimensions: height 104 mm, width 64 mm

Copyright: Rijks Museum: Open Domain

Editor: This albumen print on paper, titled "Portret van een onbekende vrouw," is dated between 1866 and 1885. There's an aura of stillness about this photograph, a sort of quiet dignity. It's an intimate, if formal, glimpse into the past. What stands out to you in this piece? Curator: It's fascinating how photography, still a relatively new medium at the time, was immediately integrated into existing social structures and power dynamics. This portrait, made by George Downes, wasn't just about capturing a likeness; it was about constructing and communicating social identity. The text at the bottom, advertising enlargements in crayon, oil, or watercolour, reveals how photography aimed to emulate the established prestige of painted portraiture. Editor: That's an interesting point about emulating painted portraiture. I hadn't thought about the power dynamics involved in who could afford what kind of portrait. Curator: Exactly. Photography democratized portraiture to some extent, but studios like Downes clearly aimed at a specific clientele interested in maintaining an air of tradition and social standing. Consider the woman's attire, the formal pose, and the advertised possibility of "enhancing" the photograph with painting techniques. How might those details be interpreted by contemporary viewers? Editor: So, even what appears like a straightforward photograph is laden with socio-economic messaging of its era. Curator: Precisely! And remember, the very act of commissioning a portrait – whether painted or photographed – speaks to one’s social status, self-perception and place within their cultural landscape. We need to remember that even simple albumen print tells the visual story of its own rise and legitimisation. Editor: I’m looking at this photograph with completely different eyes now, realizing that it reflects much more than just the subject’s appearance. Thanks for helping me think through this. Curator: It's through such lenses that we bring the past to life, no matter how apparently small its vessel.

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