Gezicht op de Bonifatiuskerk te Bonchurch c. 1850 - 1880

Curator: Here we have J.W. Nicholson's gelatin silver print, "Gezicht op de Bonifatiuskerk te Bonchurch," likely captured sometime between 1850 and 1880. Editor: It has a rather mournful quality, doesn't it? That silvery light, the crooked fence, all hinting at the passage of time. A church and its graveyard slumbering under ancient trees. It is like a scene out of a Victorian novel, all shadows and quiet contemplation. Curator: Nicholson was quite taken with landscapes, and this example displays elements of Pictorialism. The composition certainly draws the eye into the image with that broken wooden fence creating a strong foreground, leading the gaze toward the church itself. Editor: That’s a fascinating perspective—that fence creates an almost claustrophobic framing. The dark foliage adds to that enclosed feeling, hemmed in on all sides. The Bonifatiuskerk appears sturdy but cloaked by nature, nearly consumed, which seems almost metaphorical. What do you think about the visual symmetry or asymmetry that guides its reading? Curator: Indeed, the soft focus helps to evoke mood over sharp detail, something that sets Pictorialism apart from more documentary styles of photography. And concerning structure, the work utilizes the "two buildings within the church grounds," connected visually, suggesting a dialogue between permanence and transformation through decay. I noticed the delicate play of light across the stone surfaces is quite remarkable! Editor: It really does, I'm drawn to this feeling of an enclosed sanctuary. Despite its material solidity—stone walls, slate roof—there's an undeniably transient feel to the scene with an undeniable narrative to consider concerning architecture. The subdued tonal range certainly adds to that effect. Curator: I agree wholeheartedly. These early photographic processes allowed for such subtle gradations, creating an atmosphere that paintings often struggle to capture! Looking at "Gezicht op de Bonifatiuskerk te Bonchurch" you almost feel as if you were transported back in time. Editor: And ultimately, it's about engaging with that liminal space between presence and absence, tangible matter, which makes the work strangely evocative. Curator: Indeed. I do think this artwork gives us a window into a different world through its materiality. Thank you!