Annie Chinery Cameron
Photograph
1869-70 (photographed)
1869-70 (photographed)
| 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.
The sitter in this image is Annie Chinery Cameron, Cameron's daughter-in-law. Although untitled, the draped costume and wreath are suggestive of role playing.
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.
The sitter in this image is Annie Chinery Cameron, Cameron's daughter-in-law. Although untitled, the draped costume and wreath are suggestive of role playing.
Object details
| Categories | |
| Object type | |
| Titles |
|
| Materials and techniques | Albumen print from wet collodion glass negative |
| Brief description | Photograph by Julia Margaret Cameron, [Annie Chinery Cameron], albumen print, 1869-70 |
| Physical description | A photograph of a woman, from the shoulders up, loose hair, decorated with leaves. |
| Dimensions |
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| Style | |
| Credit line | Nevinson Bequest, 1990 |
| Object history | Nevinson Bequest, 1970 |
| 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. The sitter in this image is Annie Chinery Cameron, Cameron's daughter-in-law. Although untitled, the draped costume and wreath are suggestive of role playing. |
| Bibliographic reference | Cox, Julian and Colin Ford, with contributions by Joanne Lukitsh and Philippa Wright. Julia Margaret Cameron: The Complete Photographs. London: Thames & Hudson, in association with The J. Paul Getty Museum, Los Angeles and The National Museum of Photography, Film & Television, Bradford, 2003. ISBN: 0-500-54265-1
Cat. no. 195, p. 192 |
| Collection | |
| Accession number | E.2744-1990 |
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| Record created | February 23, 2009 |
| Record URL |
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