Fotoreproductie van een geschilderd zelfportret c. 1865 - 1900

Editor: This is a photograph, a gelatin silver print, titled "Fotoreproductie van een geschilderd zelfportret" which roughly translates to "photographic reproduction of a painted self-portrait". It was created sometime between 1865 and 1900 by Laurens Lodewijk Kleijn. There's something almost haunting about its starkness and the way the subject's gaze is averted. How do you interpret this work? Curator: The ghostly quality you observe resonates deeply when we consider the societal contexts of portraiture at this time. The sitter's averted gaze is more interesting. Could this be a subtle act of defiance, a rejection of the power dynamics inherent in traditional portraiture where the subject is often objectified by the viewer's gaze? What message is being sent by not making eye contact? Editor: That's interesting! I hadn't thought about it as an act of defiance. I was focusing on the mood it created for me. Curator: Indeed. The mood is crucial. The very act of reproducing a painted self-portrait photographically raises questions about originality and authenticity. Furthermore, the photographic medium, often associated with realism, here captures an image of a painted image, creating another layer of interpretation. Does this blending challenge the idea of a single "true" self-representation? Perhaps this speaks to how constructed identity itself truly is. Editor: So it is like an artistic copy of a copy, which can question the intended image, if I understand you well. This piece seems to have a great message about defying traditional social norms, especially for its time. Thank you! Curator: Precisely! Reflecting on this work reveals not only artistic skill but opens space to rethink social norms, reminding us that art serves as a powerful tool for societal reflection and potential resistance.