A Collaborative Exploration of RMAH's Photographic Archive

In the summer of 2024, a controversy erupted at the Paris Olympic Games following Imane Khelif’s victory in boxing after 46 seconds. It was claimed that she had too much testosterone in her blood to participate in the women’s event. During this time, numerous colour photographs circulated, depicting her as a woman who was both muscular and extremely combative. It is interesting to note how images of this sport have changed over time and to reflect on this shift using an image taken by Alexandre in 1888. 

This image, depicting a bare-knuckle boxing match, can only be understood by revisiting the era in which it was created. To do so, it is important to highlight the close relationship between boxing and the development of photographic, and later, cinematic technologies such as the kinetoscope.

As photography began to incorporate scientific protocols, the work of the American Eadweard Muybridge on the study of animal and human movement (published in Animal Locomotion in 1887) proved particularly influential. His photographic experiments–particularly the series Boxing, Open Hand demonstrate how the movement of the human body, here within a sporting context, was a fascinating subject for photographic exploration. This series, consisting of three sequences of four images, captures the punches and evasions of two fighters, dressed only in trunks. 

Nevertheless, Alexandre's image stands apart from those taken by these experimenters. While the presence of bare fists is evident, the two figures here are dressed in trousers and perform strange, intimidating movements under artificial light, in an interior space filled with a crowd of elegantly dressed men. Indeed, the scene is indoors, likely underground, with a single light source emphasising the boxers and creating a chiaroscuro effect. The contrast between the illuminated and shadowed figures draws attention to the intensity of the fight and enhances the storytelling effect. The mysterious figure on the right, wearing a long coat and hat while smoking a pipe, adds intrigue. No one seems aware of the camera, making the image feel spontaneous and dynamic. However, the careful composition suggests a thoughtful approach by the photographer. 

The interpretation of the scene is strongly influenced by the title given to the work: Group Portrait Around a Boxing Match. However, further research reveals that the original title of the photo is Scène humoristique prise à l'Essor (Dujardin, 2001). This suggests a very different reading. Instead of an authentic boxing match, the scene depicts a humorous moment involving members of L'Essor—an association of visual artists who sought to rebel against the bourgeois and conservative literary and artistic circles of Brussels, such as the Cercle Artistique et Littéraire de Bruxelles. These types of compositions were playfully and collectively staged in front of Alexandre’s camera and were referred to as scènes fantastiques. These whimsical compositions showcased both the imaginative spirit of the L'Essor artists and the technical mastery of their creator.

Alexandre used his version of the éclair magnésique (flash) and a gelatin dry plate negative. These plates represented a significant turning point in the history of photography, as they were pre-coated, could be stored for long periods, and developed at a convenient time. This innovation allowed photos to be taken in a wider range of locations and moments, beyond the constraints of a studio or daylight conditions. Moreover, dry plates were more sensitive to light than wet plates, enabling shorter exposure times. This technological advancement, coupled with Alexandre's improvements in éclair magnésique technology, directly contributed to the exceptional technical quality of this image.

Research into Alexandre’s real name, Albert-Edouard Drains, revealed a connection between the evolution of boxing imagery and the playful staged scene featuring the members of L’Essor. Today, Alexandre is regarded as one of Belgium’s first cinematographers, credited with producing several short films for the Exposition internationale de Bruxelles-Tervuren in 1897 (Ribemont, 2006). This highlights Alexandre’s ongoing fascination with capturing fleeting moments with as much dynamism as possible, much like Dickson, Muybridge, and the photographers of last summer’s Olympic Games.