Nortonpomp te Nigtevecht, met op achterzijde menu van het diner bij de onthulling 1894

Editor: Here we have a gelatin silver print from 1894 by Johannes Leonardus van der Heijden titled "Nortonpomp te Nigtevecht, met op achterzijde menu van het diner bij de onthulling" – which roughly translates to 'Norton pump at Nigtevecht, with the dinner menu from the unveiling on the back'. I’m immediately drawn to the strong verticality and geometric forms. What strikes you most about its composition? Curator: Formally, the image presents a compelling study in contrasts. The stark, almost clinical, precision of the architectural subject stands in opposition to the soft, diffused light inherent in gelatin silver printing. Note the meticulous detailing in the wrought iron work juxtaposed against the solid mass of the stone base. This juxtaposition activates the picture plane. What purpose do you believe these aesthetic considerations serve? Editor: Perhaps to highlight the craftsmanship, emphasizing both delicate and durable qualities? But it feels quite static. Is there a tension created between the organic ornamentation and geometric lines that brings the object alive? Curator: Precisely! The linear perspective flattens the object somewhat, pushing it towards the viewer. Furthermore, the symmetry in the placement of the object creates an inherent balance. Can you think of examples in modernist photography of the same structural treatment? Editor: That makes me think of Bernd and Hilla Becher’s photographs of industrial architecture and water towers, for instance. I can see the precursor here. The photographic method, as well as compositional approaches, contribute significantly to the overall effect. Thank you! Curator: Indeed, and this formal treatment shapes how we view and ultimately understand its structure. It’s all a matter of the inherent materiality of the print, and how its individual components all fall into place. It creates an artistic meaning.