1st June 2022 marked the bicentenary of the birth of pioneering photographer Clementina Hawarden (1822-1865), one of the most significant women to contribute to early photography. In this blog I highlight a specific genre within the extensive Hawarden photographic collection at the Victoria and Albert Museum, London, concentrating on use of the silhouette as a stylistic motif in her photographic portraiture. Viscountess Clementina Hawarden, née Fleeming, left an extensive oeuvre of collodion photographic images marking her brief embrace of the
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Nelly Erichsen at the Royal Academy, 1880-1886: One woman’s fight to be accepted as a professional artist
To the President and the Council, we the undersigned students of the Royal Academy do hereby respectfully and earnestly petition that rearranging the schools of this institution you will reconsider the question of granting us a life class for the study of the partially draped figure. We beg to lay it before your notice that almost all of us rely on the profession we have chosen as our future means of livelihood. Therefore a class which is considered so essential
Read moreWish You Were Here: Victorian women pioneers of travel photography
In September 1835, Constance Talbot wrote to her husband asking if he would be taking his small experimental “mousetrap” cameras on a visit to Wales. She remarked, “It would be charming for you to bring home some views.”[1] Four years later, William Henry Fox Talbot announced his invention of Photogenic Drawing at the Royal Society, London, and started the extraordinary creative phenomenon we know now as positive / negative photography. We all take photography for granted: it’s an indispensable, ubiquitous
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