The Angel at the Tomb
Photograph
1870 (photographed), c. 1884 (printed)
1870 (photographed), c. 1884 (printed)
| Artist/Maker | |
| Place of origin |
Just as she modelled her Madonna photographs on Renaissance art, 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 title refers to the angel that appeared at Christ's tomb after his resurrection, though in the biblical account the angel was male.
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 title refers to the angel that appeared at Christ's tomb after his resurrection, though in the biblical account the angel was male.
Object details
| Categories | |
| Object type | |
| Title | The Angel at the Tomb (assigned by artist) |
| Materials and techniques | Collotype |
| Brief description | Photograph by Julia Margaret Cameron, 'The Angel at the Tomb' (sitter Mary Hillier), collotype, 1870, printed later but probably before 1884 |
| Physical description | Half-lenght profile of a woman (Mary Hillier) with uncombed hair. |
| Dimensions |
|
| Style | |
| Marks and inscriptions | From Life Registered Photograph Copyright Julia Margaret Cameron (Recto in ink by JMC at the bottom) |
| 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 | |
| Literary reference | (Matthew 28:1-7) After the Resurrection, God sends an angel to the empty tomb to announce that Christ has risen. |
| Summary | Just as she modelled her Madonna photographs on Renaissance art, 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 title refers to the angel that appeared at Christ's tomb after his resurrection, though in the biblical account the angel was male. |
| Bibliographic references |
|
| Collection | |
| Accession number | E.2749-1990 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | November 21, 2006 |
| Record URL |
Download as: JSONIIIF Manifest
