Berti Hoppe thuis en met de hond en Rotterdam in de sneeuw Possibly 1938

Editor: This is a photo album page from 1938, possibly by Herman Besselaar, comprised of gelatin-silver prints. It has a very intimate and homey feeling, despite some of the images showcasing snowy landscapes. What's your take on this particular collection of images? Curator: I'm struck by how this album, a seemingly personal collection, becomes a social document when we view it historically. The style reminds me a bit of the Ashcan School, a movement that sought to depict everyday life. Think about the year, 1938. What was the political climate? Editor: I know things were heating up in Europe, with rising tensions before the war. Curator: Exactly. And here, we have scenes of domesticity juxtaposed with landscapes. Are they simply innocent snapshots, or do they subtly reveal a yearning for normalcy, a quiet resistance to the looming darkness? What do you make of the inscription "Bessie’s days by us?" Editor: It adds such a layer of intimacy, almost like we are intruding. It's Bessie, and the dog, as constant, loving companions. It’s quite moving when considered against the broader historical context. Curator: Precisely. Consider the potential audience. Was this album meant for public display, or a private solace? The answer impacts how we interpret the artist's intentions. This is where the politics of imagery truly comes into play, even in what looks like an album of humble family memories. Editor: That’s fascinating. I had only seen it as a personal collection, but now I see how it is an unintentionally political, cultural statement too. Curator: And that is how something seemingly simple, a humble collection of images can echo throughout history, telling complex stories when approached from the correct viewpoint.