Human communication has evolved through countless stages, employing a wide range of means and practices. Undoubtedly, writing—regardless of the transformations it underwent—served as a landmark in the critical process of substantiating information, a process fundamental to humanity. In the modern era, around the mid-19th century, written correspondence gained a new medium that would radically reshape the practice of sending written messages: the postcard. The unique nature of this medium lies in its printed image, which functions as an accompanying "gift" to the sender’s handwritten message. In many instances, the image itself constituted the entirety of the message, as numerous postcards were sent without any personal note. The official debut of this new medium occurred on 1 October 1869 in the newly established Austro-Hungarian Empire. Gradually, postcards achieved remarkable popularity: everybody wants to send an image they had personally picked out to a loved one. At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, sound recording, radio, photography, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles. It is precisely this context that allows postcards to flourish; this is their "golden age". The establishment of the "Universal Postal Union" was a catalyst for facilitating their global circulation. On October 9, 1874, the Treaty of Bern established the sending and delivery of correspondence between its members.

Continuous advancements in the technology of this new medium aimed at enhancing both its usability and appeal, in order to address it to an increasingly wider audience. The first postcards were small in size and did not contain images. Nevertheless, their convenient size, durable cardboard material, and the inclusion of the cost of postage in their purchase price were innovative features for the time that upgraded the quality of communication. One side was intended for writing the message and the other was for the dispatch details. Soon, however, the image appears, dramatically increasing their demand. The evolution of photographic technology from the 1830s onward made the "real" image sought after. Postcards make a dynamic entry into a global distribution network and serve as a catalyst in the circulation of the image, which memorializes the "local" by carrying its related social representations as far as possible. It leaves–if not seeks–space for the activation of the imaginary on the part of the recipient.

This postcard with the bilingual caption «ΔΗΜΟΤΙΚΟΝ ΘΕΑΤΡΟΝ ΠΕΙΡΑΙΩΣ» / "Grèce – Théâtre municipal. Le Pirée." (PIRAEUS MUNICIPAL THEATER / Greece – Municipal Theater. Piraeus.) is a publication issued in Athens, as inferred from the back/verso side, where it reads "Pallis & Cotzias Athenes" and bears the number 122. This particular postcard highlights one of the neoclassical buildings of the Greek capital, emphasizing its European character. The foundation of the Municipal Theater of Piraeus was laid in 1884. The design was undertaken by Ioannis Lazarimos, an architect from Piraeus, and the construction was completed 12 years later, with the theater’s inauguration taking place on April 9, 1895. A month later, the venue hosted its first performance. The imposing building, which still stands today opposite Korai Square in Piraeus, became a cultural landmark of the city —and beyond— during the 19th and 20th centuries. As stated on the official website of the Municipal Theater, "During World War I, and particularly during the blockade of Piraeus by the Entente forces [1917], the Theater and the surrounding area were occupied by French soldiers involved in the city’s blockade. [Later] for two years, it provided shelter to refugees from Asia Minor [1922-1923], as the city lacked other facilities for this purpose, while the bombing of Piraeus by the Allies on January 11, 1944 severely damaged much of the building." (see here).

The photograph is processed in sepia, with a blank space at the bottom of the front/recto side where the caption is placed. The verso is divided vertically, with the left part reserved for the message and the right for the dispatch details. There, dashed lines are visible for filling in the address, along with a field for affixing the postage stamp.

Research and text: Dora Spetsiotou