Tag Archives: realism

Photographic documents of beauty and truth

Photographer Hans van den Bogaard was recently commissioned by the Amsterdam Academic Medical Center (AMC) to photograph part of the Vrolik collection. This 19th century collection consists of over five thousand anatomical, pathological-anatomical, zoological and teratological specimen. Van den Bogaard’s photographs are currently on display at photography museum Foam. Last week, we took our guest Andrew Sempere (MIT-based designer, curator, artist) to see the intriguing and also unsettling exhibition.

The Vrolik collection was originally privately owned by Professor Gerardus Vrolik (1775-1859) and his son Professor Willem Vrolik (1801-1863). It was the last collection of its kind in the Netherlands. Increasing specialization in science and medicine decreased the need for a collection that covered the very broad spectrum of comparative normal and pathological anatomy. Six years after Willem Vrolik passed away in 1863, an Amsterdam citizens committee acquired the entire collection. It was handed over to the Athenaeum Illustre, the predecessor of the University of Amsterdam. Today, the collection is housed at the AMC.

On the Foam website, we read that Van den Bogaard’s assignment “was not just to document the collection, but to visualise it in a much freer manner. (…) The result transcends traditional scientific photography in which the medium primarily serves a specific branch of science. Van den Bogaard has succeeded in creating many photos which fascinate not only because of what they depict, but because of how the specimen is depicted. The specific use of both natural and artificial light, his choice of a particular camera and special lens and his well-considered use of the blue background in photographing many of the specimens ensure that the photos far surpass the straightforward recording of a collection.” A similar text was displayed at the beginnig of the exhibition. We therefore entered the exhibition space with this specific ‘artistic’ mind-set.

Personally, I came across a lot of photographs of anatomical specimen when I was working on my dissertation on brain imaging. I thought I was used to dealing with the discomfort one may feel in not knowing if consent was given to anatomists for using the human remains. I thought  I was used to these kinds of images, also to more aesthetic ones. I guess I was wrong. I found it to be quite an unsettling experience to look at these aestheticized photographs of anatomical preparations, ranging from parts of the human face to anencephalic fetuses, and to find beauty in the womb of a chicken, for instance (image on the right).

Considering the long history of anatomical imaging, using an artistic eye for the purposes of clinical, medical-scientific documentation has from the mid-19th century onwards become much less common. But Van den Bogaard’s photographs fit well with an earlier tradition of anatomical display, dating back as far as the Renaissance. One of the most famous examples is Andreas Vesalius’ spectacular folio of the human anatomy, De Humani Corporis Fabrica, published in 1543. In Vesalius’s day, the beauty of the images was seen as an essential part of achieving accuracy. In the Netherlands, the 17th century anatomist Frederic Ruysch is still well-known for his artful anatomical museum. Ruysch preferably displayed his specimen in separate cabinets, each displaying a separate anatomical still life, a nature morte (Luuc Kooijmans, De Doodskunstenaar, Bert Bakker Publishers, 2004). Quite similarly, Van den Bogaard’s photographs can also be seen as timeless memento mori‘s.

In some ways, the move of the Vrolik collection from the  academic hospital to the white walls of a gallery is less successful. Van den Bogaard’s aesthetic photographs are accompanied by captions with very dry descriptive medical information, revealing the fact that the exhibition was commissioned by the academic hospital. This has a very disquieting effect. Medical-anatomical information is prioritized over, for instance, background information on the photographer’s artistic and technological choices. I considered this to be a missed opportunity to build bridges between the two poles, and resorted to the web to find more information on Van den Bogaard’s take on the exhibition. Luckily, Radio 6’s De Avonden aired an interview with the photographer on May 6.

On the other hand, this type of photography and captions might actually fit quite well with the long-standing tradition of anatomical display I was referring to above. As said, the combination of artistic visualization and anatomical description was much more common in Vesalius’  and Ruysch’ days.  Moreover, it was also quite customary for scholars to look for ways in which to disciplineartists.


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Wiki loves art/NL part 2

The first two weeks of fieldwork at the Tropenmuseum have generated so much stimulating new information, that it is hard to choose out of many possible topics. For now, I’ll stick to the event described in Anne’s earlier post: the photo competion WikiLovesArt/NL.  The basic idea, as Anne already mentioned, is that people make photographs of objects, art works, etc. in the participating museums, and upload them to Flickr. Some of the best photos will be placed on Wikipedia pages, but there are also other rewards (for instance, 500 euros worth of photo equipment). The idea is that participants upload their photos to their Flickr account under a Creative Commons  licence. Subsequently, they become members of the Wiki loves art Flickr group, and place their photos in there. A jury, consisting of the organizers and employees of the museums, decides which photos will be used for the Wikipedia pages (I’ll dedicate another post to this jury system). The Tropenmuseum is also participating. Indeed, a lovely intersection of two of the project’s case studies.

At the time of writing, 130 out of 866 photos in the WikiLovesArt/NL pool are tagged with Tropenmuseum. This is one of them, by 23dingenvoormusea.


 Another participant commented on the photo, asking 23dingenvoormusea how s/he managed to photograph the drum through the showcase glass without reflections. The discussion that followed is an excellent example of how users shape what they take to be ‘realistic’ representations of the object. Interestingly, using Photoshop to get rid of reflections, and to enhance contrast, white balance, and sharpness, is considered as legitimate, even neccessary, in order to get at the real.

Last Tuesday, we interviewed the moderator of the Tropenmuseum Flickr group and his girlfriend, two enthousiastic amateur photographers who love to talk about their work. When I approached him for the interview, I also mentioned my interest in his experiences with the Tropenmuseum’s collection database. He mentioned that he had never taken a look at it before, which was intriguing in itself, and that he had only done so because of the interview. He was not very positive about the experience. According to him, the photographs of objects he found were very dry, documentary, only interesting for research purposes, while he tried to make photographs of the museum objects he really felt for, cherished. This he believed to be a more artistic approach to photographing the objects, with a different end result. His remark triggered me to search for the same drum as is displayed above in the museum database. Here it is, see what you think:







I’ve been spending some time with the museum photographers. They discuss each other’s work as well, for instance the lighting conditions, providing the objects with the ‘right’ shadows, etc.  This photograph was taken in their studio, not in the museum. I think the photographer in this case deliberately chose to photograph the object from this particular angle, to bring out the shape of the object itself, and of the geometrical marks and carvings of trees, people etc on the drum/woman’s belly. This said, looking at this photograph is quite different from the experience of looking at the Flickr photograph, also due to its different context, not to mention the difference with seeing the object in the museum itself, amidst other objects, beautifully lit, etc.

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