Florence Anson
Photograph
1866 (photographed), c. 1884 (printed)
1866 (photographed), c. 1884 (printed)
| Artist/Maker | |
| Place of origin |
Julia Margaret Cameron's career as a photographer began in 1863 when her daughter gave her a camera. She was interested in capturing a kind of photographic truth. Not one dependent on accuracy of sharp detail, but one that depicted the emotional state of her sitter.
Cameron liked the soft focus portraits and the streak marks on her negatives, choosing to work with these irregularities, making them part of her pictures. Although at the time Cameron was seen as an unconventional and experimental photographer, her images have a solid place in the history of photography.
Most of Cameron's photographs are portraits. She used members of her family as sitters and made photographs than concentrated on their faces. She was interested in conveying their natural beauty, often asking female sitters to let down their hair so as to show them in a way that they were not accustomed to presenting themselves. In addition to making stunning and evocative portraits both of male and female subjects, Cameron also staged tableaux and posed her sitters in situations that simulated allegorical paintings.
In this image, Florence Anson, the eldest daughter of Lord Lichfield, clasps her hands to her chin as if in prayer.
Cameron liked the soft focus portraits and the streak marks on her negatives, choosing to work with these irregularities, making them part of her pictures. Although at the time Cameron was seen as an unconventional and experimental photographer, her images have a solid place in the history of photography.
Most of Cameron's photographs are portraits. She used members of her family as sitters and made photographs than concentrated on their faces. She was interested in conveying their natural beauty, often asking female sitters to let down their hair so as to show them in a way that they were not accustomed to presenting themselves. In addition to making stunning and evocative portraits both of male and female subjects, Cameron also staged tableaux and posed her sitters in situations that simulated allegorical paintings.
In this image, Florence Anson, the eldest daughter of Lord Lichfield, clasps her hands to her chin as if in prayer.
Object details
| Categories | |
| Object type | |
| Title | Florence Anson (popular title) |
| Materials and techniques | Collotype |
| Brief description | Photograph by Julia Margaret Cameron, 'Florence Anson', collotype, 1866, printed later but probably before 1884 |
| Physical description | Portrait of a girl (Florence Anson) with long brown hair and white shirt praying. |
| Dimensions |
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| Style | |
| Credit line | Nevinson Bequest, 1990 |
| Object history | Nevinson Bequest, 1990 |
| Production | As the inscription visible on E.2746-1990 and E.2749-1990 indicate, this collotype was made from internegatives (negatives made from rephotographing prints) |
| Subjects depicted | |
| Summary | Julia Margaret Cameron's career as a photographer began in 1863 when her daughter gave her a camera. She was interested in capturing a kind of photographic truth. Not one dependent on accuracy of sharp detail, but one that depicted the emotional state of her sitter. Cameron liked the soft focus portraits and the streak marks on her negatives, choosing to work with these irregularities, making them part of her pictures. Although at the time Cameron was seen as an unconventional and experimental photographer, her images have a solid place in the history of photography. Most of Cameron's photographs are portraits. She used members of her family as sitters and made photographs than concentrated on their faces. She was interested in conveying their natural beauty, often asking female sitters to let down their hair so as to show them in a way that they were not accustomed to presenting themselves. In addition to making stunning and evocative portraits both of male and female subjects, Cameron also staged tableaux and posed her sitters in situations that simulated allegorical paintings. In this image, Florence Anson, the eldest daughter of Lord Lichfield, clasps her hands to her chin as if in prayer. |
| Bibliographic references |
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| Collection | |
| Accession number | E.2751-1990 |
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| Record created | November 28, 2006 |
| Record URL |
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