Royals, Royalties and Remuneration: American and British women photographers in the Victorian era
2009; Taylor & Francis; Volume: 18; Issue: 5 Linguagem: Inglês
10.1080/09612020903282183
ISSN1747-583X
Autores Tópico(s)Visual Culture and Art Theory
ResumoAbstract During the Victorian era, American and British women from divergent social backgrounds and circumstances took up photography. For English noblewomen photography became a popular leisure pursuit promoted by the Court. Lacking a counterpart to royal patronage, American women ran commercial studios independently or in partnerships with family members. By the 1880s, with easier to use processes and equipment, women on both sides of the Atlantic entered the field as amateur art photographers participating in photographic societies and exhibitions. Contrasting the experiences and strategies of these transatlantic pioneers, this article demonstrates the accomplishments they attained in the public sphere. Notes [1] Sandra Goldbacher (1998) The Governess (London: Arts Council of England). [2] Karen Blair (1980) The Clubwoman as Feminist: true womanhood redefined, 1868–1914 (New York: Holmes & Meier); Mary P. Ryan (1990) Women in Public: between banners and ballots, 1825–1880 (Baltimore: Johns Hopkins University Press). [3] More recent monographs include: Bettina Berch (2000) The Woman behind the Lens: the life and work of Frances Benjamin Johnston, 1864–1952 (Charlottesville: University Press of Virginia); Michelle Delaney (2007) Buffalo Bill’s Wild West Warriors: a photographic history by Gertrude Käsebier (New York: HarperCollins); Frank H. Goodyear (2008) Zaida Ben‐yusuf: New York portrait photographer (New York: Merrell); Victoria C. Olsen (2003) From Life: Julia Margaret Cameron and Victorian photography (New York: Palgrave Macmillan). [4] Recent scholarship with emphasis on social history: Patrizia Di Bello (2007) Women’s Albums and Photography in Victorian England: ladies, mothers and flirts (London: Ashgate); Bronwyn Griffith (Ed.) (2001) Ambassadors of Progress: American women photographers in Paris, 1900–1901 (Giverny: Musée d’Art Américain Giverny); Lindsay Smith (1998) The Politics of Focus: women, children and nineteenth‐century photography (Manchester: Manchester University Press); Laura Wexler (2000) Tender Violence: domestic visions in an age of U. S. imperialism (Chapel Hill: University of North Carolina Press). [5] The Daguerreotype (1840) The Art‐Union, 1(23), pp. 187–188. [6] Naomi Rosenblum (1994) A History of Women in Photography (New York: Abbeville Press), p. 40. [7] Bernard Heathcote & Pauline F. Heathcote (1988) The Feminine Influence: aspects of the role of women in the evolution of photography in the British Isles, History of Photography, 12(3), p. 269. [8] Rosenblum, A History of Women, p. 64. [9] Margaret Homans (1998) Royal Representations: Queen Victoria and British culture, 1837–1876 (Chicago: University of Chicago Press), pp. 46–49. [10] Smith, The Politics of Focus, pp. 64–65. [11] Isobel Crombie (1998) The Work and Life of Viscountess Frances Jocelyn: private lives, History of Photography, 22, pp. 40–51. [12] Quoted in Charlotte Zeepvat (2001) Queen Victoria’s Family: a century of photographs 1840–1940 (Sparkford: Sutton Publishing), p. 10. [13] Virginia Dodier (1999) Lady Hawarden: studies from life: 1857–1864 (New York: Aperture). [14] Olsen, From Life, p. 226. [15] Mus White (1999) From the Mundane to the Magical: photographically illustrated children’s books, 1854–1945 and beyond (Los Angeles: Dawson’s Book Shop). [16] Minor Correspondence (1864) American Journal of Photography, 2(7), p. 168. [17] Bernard V. Heathcote & Pauline F. Heathcote, ‘The Feminine Influence’; Margaret Denny (2007) Image Makers, Picture Takers: Illinois women photographers, 1850–1900, Journal of Illinois History, 10, pp. 133–150. [18] Population Schedules for Illinois (7th Federal Census) (RG 951.004), Federal Census Records, Illinois State Archives, Springfield; (1958) Chicago Photographers, 1847–1900, As Listed in Chicago City Directories (Chicago: Chicago Historical Society); Marie Czach (1977) A Directory of Early Illinois Photographers: preliminary investigations into photography as practiced in Illinois, excluding Chicago, from circa 1846 to 1914 (Macomb, IL: Western Illinois University). [19] Anon. (1879) History of Adams County, Illinois (Chicago: Murray, Williamson, & Phelps), p. 682. [20] Heathcote & Heathcote, ‘The Feminine Influence’, pp. 260–261. [21] Eliza W. Withington (1876) How a Woman Makes Landscape Photographs, Philadelphia Photographer, 13, pp. 357–360; Eliza W. Withington (1877) Photographic Masiacs: an annual record of photographic process, pp. 53–57. [22] Heathcote & Heathcote, ‘The Feminine Influence’, pp. 260–271. [23] Michael Pritchard (1994) A Directory of London Photographers 1841–1908, 2nd edn (Hertfordshire: Photo Research). [24] Fair of the Mechanics’ Institute—No. 4 (November 8, 1853), Daily Democratic Press (Chicago), p. 3. [25] Eunice N. Lockwood (1872) Does it Pay to Attend the N.P.S. Meetings? What a Lady Photographer Thinks, Philadelphia Photographer, 9(106), pp. 337–338. [26] Blair, The Clubwoman as Feminist. [27] Eunice N. Lockwood (1873) Shall We Be Insured? Philadelphia Photographer, 10(117), p. 353. [28] Eunice N. Lockwood (1886) Yesterday and To‐Day: or, Justice to All, The Photographic Times, 16(252), pp. 377–378. [29] Pritchard, Directory, pp. 32, 96. [30] Kate Pragnell (1900) Photography in The International Congress of Women of 1899 (London: T. Fisher Unwin), pp. 202–204. [31] Ibid., p. 203. [32] By the end of the century, 90% of American women and 85% of British women married. Erna Olafson Hellerstein, Leslie Parker Hume & Karen M. Offen (Eds) (1981) Victorian Women: a documentary account of women’s lives in nineteenth‐century England, France and the United States (Stanford: University of Stanford Press), p. 121. [33] Introducing the Famous Tonnesen Models (advertisement) (1902) Profitable Advertising, 12(7), p. 487. [34] Correspondence (1889) Photographic News, 33 (1620), p. 623. [35] Catharine W. Barnes (1889) Why ladies should be admitted to membership in photographic societies, American Amateur Photographer, 1(6), pp. 223–224. [36] One exception is the amateur pursuit of photography taken up in the 1870s by Clover Adams, wife of historian Henry Brooks Adams. [37] Using club membership lists designated as amateurs, an analysis of Sprange’s 1893 surveys reveals: 90 American clubs with a total membership of 4580, 350 of whom were women (7.6%); British clubs numbered 218 with a total membership of 12,200, with 382 women (3.15%). These figures suggest that because there had been a long tradition of amateur photography in the British Isles, by the 1890s, the medium was considered gendered male. Further, the extensive American women’s club movement did not have a counterpart in Britain. For information on class issues and women’s associations, see: David Englander (Ed.) (1997) Britain and American: studies in comparative history, 1760–1970 (New Haven: Yale University Press). [38] C. Jane Gover (1988) The Positive Image: women photographers in turn of the century America (Albany: State University of New York), p. 80. [39] Barnes, ‘Why ladies’, pp. 223–224. [40] Correspondence (1889) Photographic News, 33(1618), pp. 590–591. [41] Barnes, ‘Why Ladies’, p. 223. [42] Ibid. [43] Walter Sprange (1893) The Blue Book of Amateur Photographers British Societies (London: Walter Sprange); The Blue Book of Amateur Photographers (Sprange’s annual) Being a Directory of the Various Amateur Photographic Societies in the United States of America (Beach Bluff, MA: Walter Sprange). [44] Mrs Helen Stevenson joined the Chicago Amateur Photographers’ Club in October 1883. ‘Chicago Amateur Photographers’ Club’ (1883) Photographic Times and American Photographer, 13(35), p. 613. [45] Society News (1893) American Amateur Photographer, 5(2), p. 84. [46] Ibid. [47] Kirsti Asplund Ringger (1997) The Photographic Society of Philadelphia Exhibition of 1886, History of Photography, 21, pp. 283–293. [48] The Chicago Exhibition (1889) American Amateur Photographer, 1(1), pp. 40–41. [49] British Notes (1893) American Amateur Photographer, 5(11), pp. 511–512. [50] Ibid. [51] Sprange, Blue Book of British Societies, pp. 290–292. [52] Clarence B. Moore (1893) Women Experts in Photography, Cosmopolitan, 14(3), pp. 580–590. [53] Ringger, ‘The Photographic Society’, p. 284. [54] Barnes, ‘Why Ladies’, p. 224. [55] Jeannette Appleton (1890) The Pleasures of Photography, American Amateur Photographer, 2(3), pp. 79–80. [56] Anon. (1889) Club Sketches, American Amateur Photographer, 1(3), p. 125. [57] Catharine Weed Ward (1896) Women in Photography, American Amateur Photography, 8(3), p. 96. [58] Society News (1894) American Amateur Photographer, 6(5), p. 243.
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