In the previous post, I commented on the porosity of early photography: the parlour moved into the garden, the city into the home.
A reader sent me a photo of her grandmother which shows the same porosity.
The photo was taken in a studio: indoors.
It depicts four servants. The grandmother-to-be is the young woman on the right: Tina Sangen.
These four women lived and worked in Maastricht, in the Netherlands. Their portrait, however, was taken by Gerhard Mertens in Aachen, Germany. The distance is about 35 kilometres, which they would have travelled by train.
Gerhard Mertens had several studios in Aachen, and apparently had the reputation, the connections and/or the price to compete with the photographers that must have been available in Maastricht itself. Or perhaps the sitters did not go to Aachen specifically for Mertens’s studio: Aachen was three times the size of Maastricht, so the chances of getting a decent portrait done were simply higher there.
Nevertheless, as the reader who sent the photo remarks, it is interesting that these four women made the journey across the border (which up until just before World War One remained pretty porous itself) to have their portrait taken. Partly, the trip must have been an outing, but it was also a work day, because the women are wearing their work costume and I don’t think they would have chosen to do so if this was a day they really had to themselves.
So what we are seeing may be a mixture of a proud employer* showing off their neat servants, and the servants getting a – hopefully paid – day out of the house, and out of the city. Evidently, the borders between work and leisure were porous, too – in terms of space as well as time.
But what also remained porous was the border between interior and exterior. The photo’s background shows a park-like landscape with full-grown trees. The foreground, on the contrary, a carpet and what looks like a very woolly rug. And on closer inspection, the background turns out to be painted.
This photo doesn’t really belong in the category of ‘early photography’, and it was easy enough for photographer Mertens to take pictures indoors. The outdoors clearly had its own charm as a setting – witness the painted trees. Yet at the same time, little effort was made to hide the fact that this scene takes place inside a room – considering the carpet. Or perhaps the photographer really meant the carpet to evoke that traditional outdoor feeling established during the earlier phase of portrait photography?
* Their employers were the family Pichot ─ Du Plessis.