Portret van een jongen met een zittende baby op een stoel 1880 - 1910

Editor: We’re looking at a gelatin-silver print from between 1880 and 1910, titled *Portret van een jongen met een zittende baby op een stoel*, attributed to Adolf Neumann. It’s quite striking—the contrast between the slightly older boy standing stiffly and the seated baby seems very posed and deliberate. What strikes you most about this image? Curator: It’s interesting you say deliberate, because that speaks to the socio-political role of photography at this time. Photography during this era was increasingly accessible to the middle class. These weren't snapshots, but carefully constructed performances of family and status. Notice how both children are positioned; even the baby is seated formally, isn't she? Editor: I do. It's also very static in some ways. Is that typical for portraits of the time? Curator: Precisely. Think about the photographic technology then—longer exposure times demanded stillness. But more than that, these portraits offered a carefully curated vision of domesticity, reflecting aspirations of stability and order within the household. The boy's sailor suit is a popular status symbol for the urban middle class. How do you think the stiff formality contributes to our understanding of family dynamics during this period? Editor: So it’s not just about preserving an image but creating one according to specific social codes and meanings? A family projecting a specific image. Curator: Exactly. These portraits weren't merely documentation; they were active agents in shaping perceptions of class, childhood, and family identity. And how that connects to historical notions of power, performance, and societal values makes this image fascinating, don't you think? Editor: I do. It changes how I view these older photographs, I am so grateful for that insight. Thank you!