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Journal articles on the topic 'Victorian photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 611–36. http://dx.doi.org/10.1017/s1060150314000229.

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Blanche Warre Cornish's 1921–22tripartite memoir, “Memories of Tennyson,” begins in 1869 when she meets the poet by way of her parents’ friendship with Tennyson's neighbor, the photographer Julia Margaret Cameron (145) (Figure 1). The photograph that Cornish recalls as “psychophotography” is one instance of a trend in Victorian England of spirit photography that was first practiced around 1872 after it was imported from America, where William Mumler had developed it (Tucker 68; Doyle 2: 128). Reactions to these spirit photographs took various forms: while some viewers regarded them as a credible medium for communication with the dead, their detractors saw them as deliberate acts of deception. Others employed photography's spectral qualities for entertainment, such as the London Stereoscopic Company that had marketed photographs of angels, fairies, and ghosts for their customers’ amusement in the 1860s (Chéroux 45–53). By the time the “shadowy figure of a man” appears beside Arthur Hallam's erstwhile fiancé, Mrs. Jesse, Tennyson's sister, the practice had been subject to public intrigue and scandal as a part of broader and contentious Victorian debates about the status of photography as art or document. The already surreal qualities of Cornish's anecdote are amplified by Tennyson's question, “Is that Arthur?,” which entertains the possibility of Hallam being present in a visible, spectral form while unrecognized by his beloved friend.

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2

Bell, Amy. "“We were having a lot of fun at the photographers”." Ontario History 107, no. 2 (July 24, 2018): 240–61. http://dx.doi.org/10.7202/1050637ar.

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This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the importance of school photographs to Canada’s photographic history.

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3

Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (March 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.

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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.

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4

Henderson, Andrea. "Magic Mirrors: Formalist Realism in Victorian Physics and Photography." Representations 117, no. 1 (2012): 120–50. http://dx.doi.org/10.1525/rep.2012.117.1.120.

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This essay argues that British photography of the 1850s and ’60s wedded realism—understood as a commitment to descriptive truthfulness—with formalism, or a belief in the defining power of structural relationships. Photographers at midcentury understood the realistic character of photography to be grounded in more than fidelity to detail; the technical properties of the medium accorded perfectly with the claims of contemporary physicists that reality itself was constituted by spatial arrangements and polar forces rather than essential categorical distinctions. The photographs of Clementina, Lady Hawarden exemplify this formalist realism, dramatizing the power of the formal logic of photography not only to represent the real but to reveal its fundamentally formal nature.

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5

Vallone, Lynne. "Reading Girlhood in Victorian Photography." Lion and the Unicorn 29, no. 2 (2005): 190–210. http://dx.doi.org/10.1353/uni.2005.0035.

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6

Green-Lewis, Jennifer. "Victorian Photography and Literary Nostalgia (review)." Victorian Studies 46, no. 4 (2004): 714–15. http://dx.doi.org/10.1353/vic.2005.0013.

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7

Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.

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During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form through the medium of photography. In this essay, I focus on Samuel Bourne's images of the Himalaya, produced between 1863 and 1870, to query the ideological power of this triangulation to produce a specific image of the mountains in late nineteenth-century Victorian India. Situating Bourne's images in relation to contemporaneous material practices of the British within the space of the Himalaya, namely, the establishment of hill stations as picturesque locales in the higher altitudes of the Indian subcontinent, I argue that the landscape form, the picturesque mode, and the photographic medium, inflect each other to tame the sublimity of the mountains by representing them as similar to the Alps.

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8

Nadel, Ira B., Grace Seiberling, and Carolyn Bloore. "Amateurs, Photography, and the Mid-Victorian Imagination." American Historical Review 94, no. 3 (June 1989): 771. http://dx.doi.org/10.2307/1873838.

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9

Jäger, Jens. "Discourses on photography in mid-Victorian Britain." History of Photography 19, no. 4 (December 1995): 316–21. http://dx.doi.org/10.1080/03087298.1995.10443586.

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10

Borgo, Melania, Marta Licata, and Silvia Iorio. "Post-mortem Photography: the Edge Where Life Meets Death?" Human and Social Studies 5, no. 2 (June 1, 2016): 103–15. http://dx.doi.org/10.1515/hssr-2016-0016.

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AbstractWhy would we ever take a picture of a dead person? This practice began as a way to perpetuate the image of the deceased, rendering their memory eternal – Victorians thought that it could be useful to have portraits of their dead loved ones. Certainly, subjects inpost-mortemphotos will be remembered forever. However, we must ask two more questions. Are they people portrayed as if they were still alive? Or on the other hand, are they bodies that represent death? Our paper takes an in-depth look at different iconographical styles as well as photographic techniques and religious and ethical reasons behindmemento moriphotos during the Victorian Age.

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11

Edwards, Elizabeth. "Nature Exposed: Photography as Eyewitness in Victorian Science." Annals of Science 66, no. 3 (July 2009): 436–39. http://dx.doi.org/10.1080/00033790701652429.

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12

Ellenbogen, Josh. "Authority, objectivity, evidence: scientific photography in Victorian Britain." Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 39, no. 1 (March 2008): 171–75. http://dx.doi.org/10.1016/j.shpsc.2007.12.004.

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13

Green-Lewis, Jennifer. "Teaching Victorian Literature in the Context of Photography." Victorian Review 34, no. 2 (2008): 33–41. http://dx.doi.org/10.1353/vcr.2008.0040.

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14

Grove, Allen W. "Rontgen's Ghosts: Photography, X-Rays, and the Victorian Imagination." Literature and Medicine 16, no. 2 (1997): 141–73. http://dx.doi.org/10.1353/lm.1997.0016.

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15

Popple, Simon. "Photography, vice and the moral dilemma in Victorian Britain." Early Popular Visual Culture 3, no. 2 (September 2005): 113–33. http://dx.doi.org/10.1080/17460650500197479.

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16

Groth, Helen. "From Life: Julia Margaret Cameron and Victorian Photography (review)." Victorian Studies 48, no. 1 (2005): 197–98. http://dx.doi.org/10.1353/vic.2006.0034.

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17

Daniel A. Novak. "Caught in the Act: Photography on the Victorian Stage." Victorian Studies 59, no. 1 (2016): 35. http://dx.doi.org/10.2979/victorianstudies.59.1.02.

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18

Green-Lewis, Jennifer. "“Already the past”: The Backward Glance of Victorian Photography." English Language Notes 44, no. 2 (September 1, 2006): 25–43. http://dx.doi.org/10.1215/00138282-44.2.25.

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19

Robertson, Frances. "Nature Exposed: Photography as Eyewitness in Victorian Science (review)." Technology and Culture 47, no. 4 (2006): 837–39. http://dx.doi.org/10.1353/tech.2006.0249.

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20

Di Bello, Patrizia. "Nature Exposed: Photography as Eyewitness in Victorian Science (review)." Bulletin of the History of Medicine 81, no. 4 (2007): 884–86. http://dx.doi.org/10.1353/bhm.2007.0118.

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21

Dingley, Robert. "The Unreliable Camera: Photography as Evidence in Mid-Victorian Fiction." Victorian Review 27, no. 2 (2001): 42–55. http://dx.doi.org/10.1353/vcr.2001.0017.

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22

Pichel, Beatriz. "Disillusioned: Victorian Photography and the Discerning Subject, by Jordan Bear." Visual Resources 33, no. 3-4 (July 11, 2017): 430–34. http://dx.doi.org/10.1080/01973762.2017.1333786.

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23

Arias, Rosario. "(Spirit) Photography and the Past in the Neo-Victorian Novel." Lit: Literature Interpretation Theory 20, no. 1-2 (March 5, 2009): 92–107. http://dx.doi.org/10.1080/10436920802690596.

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24

Clayton, Owen. "Barthes for Barthes' Sake? Victorian Literature and Photography beyond Poststructuralism." Literature Compass 13, no. 4 (April 2016): 245–57. http://dx.doi.org/10.1111/lic3.12327.

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25

Armstrong, Nancy. "Emily's Ghost: The Cultural Politics of Victorian Fiction, Folklore, and Photography." NOVEL: A Forum on Fiction 25, no. 3 (1992): 245. http://dx.doi.org/10.2307/1345887.

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26

Tinkler, Penny. "Women’s Albums and Photography in Victorian England: ladies, mothers and flirts." Women's History Review 19, no. 5 (November 2010): 803–5. http://dx.doi.org/10.1080/09612025.2010.524027.

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27

Braun, Marta. "Nature Exposed: Photography as Eyewitness in Victorian Science, by Jennifer Tucker." Victorian Studies 49, no. 4 (July 2007): 716–18. http://dx.doi.org/10.2979/vic.2007.49.4.716.

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28

Aguirre, Robert D. "Wide Angle: Eadweard Muybridge, the Pacific Coast, and Trans-Indigenous Representation." Victorian Literature and Culture 49, no. 1 (2021): 55–72. http://dx.doi.org/10.1017/s1060150319000597.

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Eadweard Muybridge's Pacific Coast photographs provide an important site for investigating Victorian visual practices of the “wide.” They do not simply expand a referential frame to encompass novel subjects; they also, and more critically, register powerful narratives of temporality and modernity. This essay's analysis of the “wide” as an incipient concept of critical spatiality is not set against the more familiar temporal dimension of the long nineteenth century (a false and ultimately unproductive opposition). Rather, it places these two concerns in some tension with each other, though the argument is less about periodicity than about the representation of timescales in nineteenth-century media. In Muybridge's photographs, thinking about the representational possibilities of width is impossible without also confronting temporality. The Pacific Coast photographs are important both as explorations of timescales and artifacts in an influential nineteenth-century medium and prompts to reconsider the politico-economic networks that were central to the progress of expeditionary photography itself.

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29

Groth, Helen. "BOOK REVIEW: Victoria Olsen.FROM LIFE: JULIA MARGARET CAMERON AND VICTORIAN PHOTOGRAPHY. Basingstoke and New York: Palgrave Macmillan, 2003." Victorian Studies 48, no. 1 (October 2005): 197–98. http://dx.doi.org/10.2979/vic.2005.48.1.197.

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30

Smith, Lindsay. "The shoe‐black to the crossing sweeper: Victorian street Arabs and photography." Textual Practice 10, no. 1 (March 1996): 29–55. http://dx.doi.org/10.1080/09502369608582238.

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31

Green-Lewis, Jennifer. "From Life: The Story of Julia Margaret Cameron and Victorian Photography (review)." Biography 27, no. 3 (2004): 613–17. http://dx.doi.org/10.1353/bio.2004.0065.

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32

Godbey, Margaret J. "Nature's Truth: Photography, Painting, and Science in Victorian Britain by Anne Helmreich." Victorian Periodicals Review 50, no. 2 (2017): 430–34. http://dx.doi.org/10.1353/vpr.2017.0031.

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33

Reid, Norman H. "A.D. Morrison-Low, Photography: A Victorian Sensation Sara Stevenson and A.D. Morrison-Low, Scottish Photography: The First Thirty Years." Journal of Scottish Historical Studies 37, no. 2 (November 2017): 201–3. http://dx.doi.org/10.3366/jshs.2017.0222.

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34

Budge, Gavin. "Review of Andrea Henderson’s “Magic Mirrors: Formalist Realism in Victorian Physics and Photography”." Journal of Literature and Science 5, no. 2 (2012): 83–84. http://dx.doi.org/10.12929/jls.05.2.11.

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35

Petzold, Jochen. "Victorian Gendered Photography in the Boy's Own Paper and the Girl's Own Paper." Victorian Periodicals Review 52, no. 1 (2019): 57–79. http://dx.doi.org/10.1353/vpr.2019.0002.

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36

Koven, S. "Dr. Barnardo's "Artistic Fictions": Photography, Sexuality, and the Ragged Child in Victorian London." Radical History Review 1997, no. 69 (October 1, 1997): 6–45. http://dx.doi.org/10.1215/01636545-1997-69-6.

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37

Koven, S. "Dr. Barnardo's "Artistic Fictions": Photography, Sexuality, and the Ragged Child in Victorian London." Radical History Review 1997, no. 69 (October 1, 1997): 7–45. http://dx.doi.org/10.1215/01636545-1997-69-7.

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38

Hacking, Juliet. "Women's Albums and Photography in Victorian England: Ladies, Mothers and Flirts: Patrizia di Bello." Photography and Culture 2, no. 2 (July 2009): 223–26. http://dx.doi.org/10.2752/175145109x12456654103082.

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39

Treagus, Mandy, and Madeleine Seys. "Looking Back at Samoa: History, Memory, and the Figure of Mourning in Yuki Kihara’s Where Do We Come From? What Are We? Where Are We Going?" Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 86–109. http://dx.doi.org/10.1163/23523085-00302005.

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Samoan Japanese artist Yuki Kihara’s photographic series Where Do We Come From? What Are We? Where Are We Going? (2013) focuses on sites of current and historical significance in Samoa. In taking on the title of French artist Paul Gauguin’s 1897 work, Kihara signals her desire to engage with the history of representation of the Pacific in Western art through dialogue with Gauguin and the history of colonial photography. Casting herself as a version of Thomas Andrew’s Samoan Half Caste (1886), a figure in Victorian mourning dress, she directs the viewer’s gaze and invites all to share her acts of mourning at these sites. The literal meaning of the title also indicates how the series engages with history via the Samoan concept of vā, collapsing time in space, to produce an understanding of both the country’s present and the potential future such history invites.

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40

Matthews, Samantha. "Women’s Albums and Photography in Victorian England: Ladies, Mothers and Flirts by Patrizia Di Bello." Victorian Review 34, no. 2 (2008): 246–48. http://dx.doi.org/10.1353/vcr.2008.0044.

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41

Rhein, Donna. "THE PRE-RAPHAELITE CAMERA: ASPECTS OF VICTORIAN PHOTOGRAPHY (New York Graphic Society Book). Michael Bartram." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (October 1986): 142. http://dx.doi.org/10.1086/adx.5.3.27947645.

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42

Green-Lewis, Jennifer. "Women's Albums and Photography in Victorian England: Ladies, Mothers and Flirts, by Patrizia Di Bello." Victorian Studies 50, no. 4 (July 2008): 738–40. http://dx.doi.org/10.2979/vic.2008.50.4.738.

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43

Burleigh, Peter. "Photogenic Intensions." Magic, Vol. 5, no. 1 (2020): 60–65. http://dx.doi.org/10.47659/m8.060.art.

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What is a photograph? What a spurious, redundant start! After all, a photograph is clearly an image, a technical image of something. What a photograph is – such a stupid question! Yet, the casual announcement of the photograph as signification relies on an a priori truth that orients our thinking, our identities, our institutions. For it is “in terms of this self-apparent image of thought that everybody knows and is presumed to know what it means to think.” Collaging Deleuze and Bergson, intuition teaches us that an image is a nexus of force in itself, or as Anne Sauvagnargues suggests, what is crucial to images is how they cut into the world. As real enfoldings of the virtual and actual, photographs are the territories of a multiplicity of sensations – a genesis, the real actual of a diagrammatic structuring of the world in registers of time and space. Roger Fenton’s The Queen’s Target made at Queen Victoria’s opening of the first Rifle Association in 1860 is an entry point to thinking deeper signalisation in photographs. While the 3-D work by Andreas Angelidakis indicates photogenetic zones of intensity, temporal dislodgment, and the event of photogenesis actualized in physical form. Keywords: photogenesis, virtual, photography and event, ontology of the image, photography and information, philosophy of photography

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44

Birch, Dinah, Lindsay Smith, and Michael Wheeler. "Victorian Photography, Painting, and Poetry: The Enigma of Visibility in Ruskin, Morris and the Pre-Raphaelites." Modern Language Review 92, no. 3 (July 1997): 710. http://dx.doi.org/10.2307/3733417.

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45

Whitworth, Michael H. "helen groth. Victorian Photography and Literary Nostalgia. Pp. xii+244. Oxford: Oxford University Press, 2003. £45." Review of English Studies 57, no. 228 (February 1, 2006): 134–36. http://dx.doi.org/10.1093/res/hgl016.

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46

Jenkins, Earnestine. "Elite colored women: the material culture of photography & Victorian era womanhood in reconstruction era Memphis." Slavery & Abolition 41, no. 1 (January 2, 2020): 29–63. http://dx.doi.org/10.1080/0144039x.2019.1685259.

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47

Whitehead, Lucy. "Restless Dickens: A Victorian Life in Motion, 1872–1927." Journal of Victorian Culture 24, no. 4 (October 2019): 469–91. http://dx.doi.org/10.1093/jvcult/vcz039.

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Abstract By comparing John Forster’s The Life of Charles Dickens (1872–1874) with subsequent amateur forms of biographical activity in the period 1872–1927, this essay aims to challenge lingering conceptualizations of the material properties of Victorian biography as smooth and standardized. I argue that the parity of practice revealed between Forster’s biography and the various composite forms of biographical narrative that came in its wake, such as Grangerizations and photography collections, throws into question the supposed unity of Forster’s original text. It shows the ways in which his Dickens was always an unstable and metamorphosing figure, tracing an alternative genealogy for the subsequent forms of memorialization that push these biographical qualities further. It demonstrates continuities of preoccupation and practice in biographical activity 1872–1927, producing a narrative of Victorian and Modernist biography that emphasizes connection rather than rupture. Examining these composite forms of biographical narrative also reveals the proto-cinematic way in which they juxtapose and sequence similar but marginally different Dickenses, in order to create the sense of a figure temporally, physically and mentally in motion. From Forster’s text onwards, Dickens is thus produced materially as well as verbally as a ‘restless’ subject, continually poised between stasis and movement. The recurring biographical use of montage, collage and compilation in order to put the subject in motion suggests a previously unconsidered dimension to the ancestry of cinema. It also works to extend our understanding of the media available to Victorian biography.

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48

Groth, Helen. "TECHNOLOGICAL MEDIATIONS AND THE PUBLIC SPHERE: ROGER FENTON’S CRIMEA EXHIBITION AND “THE CHARGE OF THE LIGHT BRIGADE”." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 553–70. http://dx.doi.org/10.1017/s1060150302302092h.

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AT THE GALLERY OF THE SOCIETY OF PAINTERS in Water Colours in Pall Mall East in the autumn of 1855, Roger Fenton exhibited three hundred and twelve photographs taken in the Crimea. Undertaken with the patronage of Queen Victoria, Prince Albert, and the Duke of Newcastle, the then Secretary of State for War, Fenton’s photographic record was intended to inform the Victorian public of the “true” condition of the soldiers in what was fast becoming an unpopular war. In the catalogue, one photograph bore the title “The Valley of the Shadow of Death,” a title with both biblical and literary resonances for exhibition audiences in late 1855.1 Tennyson’s “The Charge of the Light Brigade” had been published in the Examiner on 9 December 1854, causing a sensation both at home and in the Crimea.2 Organized around variations on the refrain “Into the valley of Death / Rode the six hundred,” the poem assumed anthem-like status during the period when Fenton was in the Crimea. Filtered through the lens of Tennyson’s poem, Fenton’s photograph appears to record the traces of a charge or a battle scene that has just taken place.

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49

Nair, Janaki. "Seeing like the Missionary: An Iconography of Education in Mysore, 1840–1920." Studies in History 35, no. 2 (August 2019): 178–217. http://dx.doi.org/10.1177/0257643019865233.

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Missionaries working in Mysore, as elsewhere in India, took enthusiastically to the new art of photography from the 1840s, to record their ‘views’ of the society they undertook to transform. Evangelising was, however, early on, allied with education as a way for missionaries to make their way into a complex, hierarchical society with learning traditions of its own. How did the missionary ‘see’ the Indian classroom, and invite the viewer of their photographs to participate in its narrative of ‘improvement’? What was the place of the photograph at a time when meticulous written records were kept of victories and reverses in the mission field of education? Revealing the work of the photograph in aiding missionary work must perforce begin with the more instrumentalist uses of this new art, as technologies of recording par excellence, before turning to the possible ways of looking at photographs, whether by those contemporaries of the missionaries who were physically distanced from the location, and were yet linked to their work in India, or when they formed part of the contemporary historian’s archive. Here one may exploit photography’s ‘inexhaustible invitations to deduction, speculation and fantasy’ instead of its truth-telling capacity. I am precisely posing a dynamic and perhaps even antagonistic relationship between the copious written and the sparser visual record of educational changes in Mysore in the 19th and early 20th centuries. This investigation of the visual field in the service of education also allows us also to speculate about the specific aesthetic achievements of missionary photography, with its own pedagogic goals.

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50

Boman, Charlotte. "At Home in the Victorian City? Revisiting Thomas Annan and the Social Contexts of Early Urban Photography." History of Photography 43, no. 1 (January 2, 2019): 27–46. http://dx.doi.org/10.1080/03087298.2019.1600860.

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