Photographic Image Analysis
Artists have always explored various media to convey ideas and express emotions that reflect the complexity of human beings. Stereography became one of the instruments artists started to use in the middle of the 19th century (Brooks 6). This type of representing reality can be regarded as naturalistic and rather emotional as people are exposed to two dimensions. People’s mind is invited to co-create and reconstruct some pieces of the puzzle while pictures are rather precise depictions of the world. The piece under analysis is produced by P. B. Greene in 1871 and entitled The Palmer House After the Fire (see fig. 1). This artwork has been chosen due to its 3-D visual effects and emotional impact they have since the stereograph depicts ruins in the aftermath of the Great Fire in Chicago, and it can hardly leave people untouched.
Technical Analysis
The work of art under consideration is produced in a way that is quite different from photography. Photography captures one moment and one image while stereographs reveal two angles of a site or object. Two slightly different photographic images are viewed with the help of a specific device. The standard size of such pieces is approximately eight inches, but it has little relevance to the viewer due to the effect of the device (King 8). It seems that the displayed objects are at a certain distance, which helps individuals feel secure observers rather than active participants.
The history of stereography dates back to 1832, when Sir Charles Wheatstone created a mirror stereoscope (King 2). In the 1850s, Sir David Brewster developed a stereoscope that looked like a box with a picture (or daguerreotypes) inside. This kind of media was first introduced to amaze people and unveil some of the secrets of science. At the same time, one of the values of stereographs, as seen by many artists, is the viewer’s active participation (King 6). Such iconic figures as Salvador Dali emphasized this peculiarity of stereoscopy, trying to engage viewers and make them co-create.
The way this artwork is viewed has a significant influence on the way it is observed and seen. Viewers use a kind of binoculars and see a vivid picture of a city that has been devastated by the fire. The effect of reality is created with the help of two dimensions. People do not simply view a certain image, but they feel they are inside of the scene. Apart from quite specific optical effects, viewers receive a potent emotional impetus to feel, think, and imagine. This effect is specifically beneficial for the artwork that depicts the horrifying picture of the ruins of a building that used to be a magnificent sight and a symbol of wealth and power. Each individual reconstructs and co-creates the image of the devastated street, and the optical illusions bring back the memories that are unique to a particular person.
Visual/Formal Analysis
The stereograph in question depicts a Chicago street and the ruins of a house that used to be an illustration of the American way of life, but it can hardly be recognized without the caption. Only some elements of the walls are left standing while the entire site is a pile of dust, bricks, and stone. Importantly, it is not clear what part of a day it is as it can be early morning or even midday. However, it does not seem relevant since the scene is out of time.
When looking at the piece, the viewer can feel the smoke and the heat of the fire. It is also noteworthy that the stereograph is in black and white, which is rather typical of the time of its creation. At the same time, the color scheme enhances the emotional load produced by the scene making the city dull and even blurred. It is necessary to add that the 3-D effects mesmerize viewers, making them spend more time looking at the work. When gazing at and reflecting upon the stereograph, one concentrates on the damage the fire caused.
However, it is also common that people are more concerned about the format of the artwork. It can be interesting to observe the way people try to take their own visual experiments. Some people spend quite a short period of time with this work, while others, which can be referred to as creative observers, take their time and try to dig deeper into the meanings behind the optical effects. These experiments are mainly successful as viewers manage to co-create and explore their emotions.
Historical Analysis
The artwork being analyzed depicts the aftermaths of the so-called Great Fire that affected Chicago in 1871. This disaster remains one of the most memorable events in the history of the city that had a substantial impact on its development. Murphy stresses that Chicago of that period was “a city ready to burn” because two-thirds of the buildings were made of wood (18). Even the structures and buildings that were proclaimed to be fire-proof and were regarded as illustrations of safety were still “jerry-built affairs” with wooden frames and tar roofs (Murphy 18). The fire revealed the carelessness of the authorities and construction companies, as well as people’s complete unpreparedness for such a disaster. The piece under consideration reveals the aftermaths of such attitudes and people’s delusions concerning their own safety.
Chicago was devastated, and people had to handle numerous issues in a short period of time. The lack of drinking water, 100,000 homeless people, the shortage of supplies were the most burning issues to be addressed (Murphy 107). The horrible consequences of the fire are featured in the stereograph. It is clear that, at least, in some places, the city was completely destroyed. The artwork can be seen as a means to report and create a reminder for people. The artwork is a warning for the generations to come.
As mentioned above, Palmer House was one of the symbols of urban development, American wealth, and progress. Notably, this building was claimed to be the “World’s Only Fire-Proof Hotel,” which was another sign of the might of American business sharks (Bizzarri 96). Clearly, the destruction of such a secured construction was a shock for many. Palmer House was also one of the embodiments of the beauty of Chicago. The fire destroyed that beauty, but people found the strength to rebuild it. When looking at the stereograph, it may seem that the rebuilding is about to start, although the smoke after the fire did not vanish completely. The dynamic depiction of the fire aftermaths makes viewers think about their own safety and ways to preserve all those marvelous things people created.
Conclusion
On balance, it is possible to state that the stereograph created by Greene is a powerful work of art that makes people remember about possible consequences of their carelessness. The piece depicts the grand city in ruins, and the employed media creates a potent emotional effect. Viewers do not simply observe the details of the scene but can feel they are in the ruined street. It is necessary to note that stereography was not something completely revolutionary in 1871, but it was still quite new. Hence, the piece had a considerably stronger impact compared to photographs. Even modern viewers are affected as the scene is rather impressive and grand.
This stereograph is an illustration of the power of art and its influence on people’s view of the world. Apart from evoking some emotions and memories, the artwork makes people reflect on the future and shape their behaviors in accordance with the messages articulated by the artists. In this case, people understand that they need to be cautious and focused on their safety, which can save their lives and their property.
Another important point regarding stereography is its ability to encourage viewers to co-create. Some people do not use this opportunity, and their creative potential remains untouched. However, in the majority of cases, people use this opportunity and use the optical strengths of their sight. The stereograph under analysis brings out people’s fears and nightmares as individuals imagine the horror of the city that burnt down. The best effect is created if a person has seen the contemporary building as the stereograph is further reconstructed into the image of the contemporary hotel. Therefore, it is possible to note that 3-D effects are instrumental in bringing out people’s emotions, memories, fears, and hopes.
Works Cited
Bizzarri, Amy. Discovering Vintage Chicago: A Guide to the City’s Timeless Shops, Bars, Delis & More. Rowman & Littlefield, 2015.
Brooks, Kevin R. “Depth Perception and the History of Three-Dimensional Art: Who Produced the First Stereoscopic Images?” i-Perception, vol 8, no. 1, 2017, pp. 1-22.
King, Elliott H. “The Spectator Makes the Picture”: Optical illusions and Viewer Experience in Dalí’s and Duchamp’s Stereoscopic Works.” Avant-Garde Studies, vol. 3, 2018, pp. 1-27.
Murphy, Jim. The Great Fire. Scholastic Inc., 2016.