The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century

During the first decade of the 20th century, in Colombia, the German businessman Otto Flohr established a printing press in Barranquilla that served as the base for the creation of a prolific number of postcards from different parts of the country. These postcards stood out for their photographic qu...

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Autor principal: Rojas Cocoma, Carlos
Formato: Artículo revista
Lenguaje:Español
Publicado: Estudios e investigaciones 2018
Materias:
Photography
Barthes
Visual aesthetics
Fotografía
Estética visual
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10482
Aporte de:
Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró de Universidad de Buenos Aires
id I28-R251-article-10482
record_format ojs
spelling I28-R251-article-104822021-08-31T13:02:24Z The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century Las postales de la casa Flohr, Price & Co. en Colombia: la invención de un lugar a comienzos del siglo XX Rojas Cocoma, Carlos Photography Barthes Visual aesthetics Fotografía Barthes Estética visual During the first decade of the 20th century, in Colombia, the German businessman Otto Flohr established a printing press in Barranquilla that served as the base for the creation of a prolific number of postcards from different parts of the country. These postcards stood out for their photographic quality, the use of pictorial intervention and an aesthetic stamp that differentiated them from others. The project made it possible to disseminate the images of a territory that, from the photographic and pictorial perspective, was little known until now. To approach the interpretation of the photography, we return to Barthes’s notion of sign, which allows us to establish an interpretive line on the path of meaning (plastic and interpretive intentions of the image) and in the aesthetic and interpretative of a visual subjectivity and aesthetics. The identified postcards allow us to interpret the character of their proposal, of a visuality of Colombia through multiple signs that the photographs represented of each place. The merit is in the creation of these symbols and the dissemination of an image that would refer directly to the idea of the country. En la primera década del siglo XX, en Colombia, el empresario alemán Otto Flohr estableció en Barranquilla una imprenta que sirvió de base para la creación de un número prolífico de postales de diferentes puntos del país. Estas postales se destacaban por su calidad fotográfica, el uso de la intervención pictórica y un sello estético que las diferenciaba de otras producidas. El proyecto permitió divulgar las imágenes de un territorio que, desde la perspectiva fotográfica y pictórica, era poco difundido hasta el momento. Para acercarnos a la interpretación de la fotografía retomamos la noción de signo de Barthes, la que permite establecer una línea interpretativa en el camino del significado (intenciones plásticas e interpretativas de la imagen) y en el estético e interpretativo de una subjetividad y una estética visual. Las postales identificadas permiten interpretar el carácter de su propuesta, de una visualidad de Colombia a través de múltiples signos que las fotografías representaron de cada lugar. El mérito está en la creación de estos símbolos y su difusión de una imagen que remitiera directamente a la idea de país. Estudios e investigaciones 2018-11-10 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10482 Estudios e investigaciones; Vol. 13 (2018); 19-39 2618-4230 spa http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10482/9242
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-251
container_title_str Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró
language Español
format Artículo revista
topic Photography
Barthes
Visual aesthetics
Fotografía
Barthes
Estética visual
spellingShingle Photography
Barthes
Visual aesthetics
Fotografía
Barthes
Estética visual
Rojas Cocoma, Carlos
The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century
topic_facet Photography
Barthes
Visual aesthetics
Fotografía
Barthes
Estética visual
author Rojas Cocoma, Carlos
author_facet Rojas Cocoma, Carlos
author_sort Rojas Cocoma, Carlos
title The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century
title_short The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century
title_full The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century
title_fullStr The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century
title_full_unstemmed The Postcards of the Flohr, Price & Co. House in Colombia and the Invention of a Place at the Beginning of the 20th Century
title_sort postcards of the flohr, price & co. house in colombia and the invention of a place at the beginning of the 20th century
description During the first decade of the 20th century, in Colombia, the German businessman Otto Flohr established a printing press in Barranquilla that served as the base for the creation of a prolific number of postcards from different parts of the country. These postcards stood out for their photographic quality, the use of pictorial intervention and an aesthetic stamp that differentiated them from others. The project made it possible to disseminate the images of a territory that, from the photographic and pictorial perspective, was little known until now. To approach the interpretation of the photography, we return to Barthes’s notion of sign, which allows us to establish an interpretive line on the path of meaning (plastic and interpretive intentions of the image) and in the aesthetic and interpretative of a visual subjectivity and aesthetics. The identified postcards allow us to interpret the character of their proposal, of a visuality of Colombia through multiple signs that the photographs represented of each place. The merit is in the creation of these symbols and the dissemination of an image that would refer directly to the idea of the country.
publisher Estudios e investigaciones
publishDate 2018
url http://revistascientificas.filo.uba.ar/index.php/payro/article/view/10482
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