In two earlier posts, I wrote about the porosity of the boundary between outdoor and indoor photography in older photos:
- some of the earliest landscape pictures were taken while the photographer was actually standing inside,
- many ‘drawing-room’ portraits were actually taken in gardens,
- many ‘out-of-doors’ portraits were actually taken in studios (we are now talking about the later decades of the 19th century and the early decades of the 20th).
I just came across a photo from the early 1920s that gives another peek at these historical boundary crossings.
The photo shows a class of schoolchildren, probably reaching the end of their primary-school career. The pupils’ cheerfully relaxed faces suggest this was a happy class. Their teacher, Theo Thijssen, may have been a good teacher. (He is standing to their right, with, next to him, what may have been two assistants.) What I know for sure at least, is that Thijssen was a good writer. He even has his own museum now, which preserves this photo.
The children sit and stand in typical school-photo fashion, some on the ground, some on benches, I suspect. With one bench in the middle and one at the back, the photographer – probably a professional – created the tiered composition that we know so well of group photos, past and present. Also familiar is the fact that the few girls in this class were positioned symmetrically on the front row. And that clothes, such as the boys’ shirts and shorts, were taken into account when composing the group portrait.
But two things struck me about this photo: things that point at the porosity between interior and exterior.
The first you will already have noticed.
The children are sitting and standing on a thick rug. Together with the two benches, these props will have taken some time and effort to set up. Perhaps, the photographer brought the rug with them in a van. Hopefully they received help from the children in carrying it to the appointed location. Luckily, the rug has some sturdy handles: something I had not seen before in historical collections or photographs. This was no decorative carpet, but a functional one. It enabled four boys in their Sunday best to sit on the floor for that perfect composition.
It also gives some unity to the composition and frames the focus of the picture: the children. However, the awkward slant of the rug relative to the edge of the photo, and the fact that it is cut off on the left-hand side but not the right-hand side, suggest that the photographer did not pay great care to use this opportunity well. What’s more, the street bricks would have offered a beautiful background as well – unless, perhaps, the carpet hides something that was visually unattractive, as well as unpleasant to sit on? A cellar grating? I am curious to read what you think!
But the rug has another effect besides. For what is that second noticeable thing?
In the 1920s, boys and men covered their heads when going out. Whether it was a flat cap, a woollen hat or a bowler, you needed something on your head, whatever the weather. It was simply the decent thing to do.
But on this photo, no one has a thread on their heads (except perhaps that one boy in the back row?). The class are pretending to be indoors! Not literally, of course: anyone can see that the backdrop to the photo is formed by the outside of their school building. Yet by picturing the children without coats or hats, the photo recreates the familiar atmosphere of a classroom. The rug, now, only increases this sense of warmth and comfort. The class have just been at their history lessons, the picture suggests, and will return to their own places at their desks in a second, once the photographer has given the ‘all clear’.
In the first instance, these things struck me because the boys’ bareheadedness was so unusual back then, and because carpets in outdoor photography are so unusual now. But really, they only bring these century-old schoolchildren closer to ourselves. Do not we go outside without a coat or scarf to have our picture with classmates or colleagues taken? And are not those photos carefully set up by the photographer who flies in for a day?
Is this what a historical sensation is: to feel you can step inside an old picture and find people who are just the same as you and I?