The red & white Roses

Photograph
1865 (photographed)
The red & white Roses thumbnail 1
Image of Gallery in South Kensington
On display at V&A South Kensington
Prints & Drawings Study Room, level F
Artist/Maker
Place Of Origin

Julia Margaret Cameron looked to painting and sculpture as inspiration for her allegorical and narrative subjects. Some works are photographic interpretations of specific paintings by artists such as Raphael and Michelangelo. Others aspired more generally to create ‘Pictorial Effect’.

Cameron's harshest critics attacked her for using the supposedly truthful medium of photography to depict imaginary subject matter. Some suggested that at best her photographs could serve as studies for painters. The South Kensington Museum mainly acquired 'Madonnas' and 'Fancy Subjects', and exhibited them as pictures in their own right.

The meaning of this picture is not clear. Despite the title, only white roses appear in it. In Victorian symbolism, red and white roses together signified unity, which is also seen in the intimate pose of sisters Kate and Elizabeth Keown. However, the gesture of clasped hands is suggestive of prayer. In Christian iconography red roses stand for martyrdom and white for purity.


object details
Categories
Object Type
Materials and Techniques
Albumen print from wet collodion glass negative
Brief Description
Photograph by Julia Margaret Cameron, 'The red & white Roses' (sitters Kate Keown and Elizabeth Keown), albumen print, 1865
Physical Description
A photograph of two young girls (Kate Keown and Elizabeth Keown). The older girl (Kate) is holding some flowers whilethe younger girl (Elizabeth) has her hands clapsed under her chin. The photograph is mounted on paper with another photograph mounted on the reverse.
Dimensions
  • Mount height: 490mm
  • Mount width: 372mm
Style
Credit line
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
Object history
Julia Margaret Cameron (1815–79) was one of the most important and innovative photographers of the 19th century. Her photographs were rule-breaking: purposely out of focus, and often including scratches, smudges and other traces of the artist’s process. Best known for her powerful portraits, she also posed her sitters – friends, family and servants – as characters from biblical, historical or allegorical stories.



Born in Calcutta on 11 June 1815, the fourth of seven sisters, her father was an East India Company official and her mother descended from French aristocracy. Educated mainly in France, Cameron returned to India in 1834.



In 1842, the British astronomer Sir John Herschel (1792 – 1871) introduced Cameron to photography, sending her examples of the new invention. They had met in 1836 while Cameron was convalescing from an illness in the Cape of Good Hope, South Africa. He remained a life-long friend and correspondent on technical photographic matters. That same year she met Charles Hay Cameron (1795–1880), 20 years her senior, a reformer of Indian law and education. They married in Calcutta in 1838 and she became a prominent hostess in colonial society. A decade later, the Camerons moved to England. By then they had four children; two more were born in England. Several of Cameron’s sisters were already living there, and had established literary, artistic and social connections. The Camerons eventually settled in Freshwater, on the Isle of Wight.



At the age of 48 Cameron received a camera as a gift from her daughter and son-in-law. It was accompanied by the words, ‘It may amuse you, Mother, to try to photograph during your solitude at Freshwater.’ Cameron had compiled albums and even printed photographs before, but her work as a photographer now began in earnest.



The Camerons lived at Freshwater until 1875, when they moved to Ceylon (now Sri Lanka) where Charles Cameron had purchased coffee and rubber plantations, managed under difficult agricultural and financial conditions by three of their sons. Cameron continued her photographic practice at her new home yet her output decreased significantly and only a small body of photographs from this time remains. After moving to Ceylon the Camerons made only one more visit to England in May 1878. Julia Margaret Cameron died after a brief illness in Ceylon in 1879.



Cameron’s relationship with the Victoria and Albert Museum dates to the earliest years of her photographic career. The first museum exhibition of Cameron's work was held in 1865 at the South Kensington Museum, London (now the V&A). The South Kensington Museum was not only the sole museum to exhibit Cameron’s work in her lifetime, but also the institution that collected her photographs most extensively in her day. In 1868 the Museum gave Cameron the use of two rooms as a portrait studio, perhaps qualifying her as its first artist-in-residence. Today the V&A’s Cameron collection includes photographs acquired directly from the artist, collected later from various sources and letters from Cameron to Sir Henry Cole (1808–82), the Museum’s founding director and an early supporter of photography.



This photograph is part of the Royal Photographic Society Collection at the V&A which also includes fragments of Cameron's original autobiographical manuscript for Annals of My Glass House.

Subjects depicted
Summary
Julia Margaret Cameron looked to painting and sculpture as inspiration for her allegorical and narrative subjects. Some works are photographic interpretations of specific paintings by artists such as Raphael and Michelangelo. Others aspired more generally to create ‘Pictorial Effect’.



Cameron's harshest critics attacked her for using the supposedly truthful medium of photography to depict imaginary subject matter. Some suggested that at best her photographs could serve as studies for painters. The South Kensington Museum mainly acquired 'Madonnas' and 'Fancy Subjects', and exhibited them as pictures in their own right.



The meaning of this picture is not clear. Despite the title, only white roses appear in it. In Victorian symbolism, red and white roses together signified unity, which is also seen in the intimate pose of sisters Kate and Elizabeth Keown. However, the gesture of clasped hands is suggestive of prayer. In Christian iconography red roses stand for martyrdom and white for purity.
Associated Objects
Bibliographic References
  • Ford, Colin and Cox, Julian. Julia Margaret Cameron: The Complete Photographs. London: Thames and Hudson, 2003. Cat. no. 981, p.411, ill.
  • Weaver, Mike. Whisper of the Muse: The Overstone album and other photographs by Julia Margaret Cameron. Malibu, California: J. Paul Getty Museum, 1986, p. 73.
  • Gernsheim, Helmut. Julia Margaret Cameron: Her Life and Photographic Work. London: Fountain Press, 1948, plate 40.
  • Woolf, Virgina and Roger Fry. Victorian Photographs of Famous Men and Fair Women. Expanded and revised edition of Woolf and Fry 1926, edited by Tristram Powell, Boston: David R. Godine, 1973, plate 43.
  • Ford, Colin. The Cameron Collection: An Album of Photographs by Julia Margaret Cameron Presented to Sir John Herschel. Wokingham, England: Van Nostrand Reinhold, 1975, p.79.
  • From Infancy to the Green Years[in Russian] Moscow: State Pushkin Museum of Fine Arts, 2010. ISBN: 978-5-901124-73-4
  • Weiss, Marta. Julia Margaret Cameron: Photographs to electrify you with delight and startle the world. London: MACK, 2015, p.82.
Other Numbers
  • XRP103 - RPS collection - V&A identifier
  • 2003-5001/2/25372 - Science Museum Group accession number
  • 20579 - Royal Photographic Society number
Collection
Accession Number
RPS.1081:2-2017

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record createdNovember 6, 2017
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