Pictorialism in the Victorian Era; Essay example

2442 Words Oct 12th, 2008 10 Pages
Pictorialism in the Victorian Era;
The Works of Julia Margaret Cameron and Madame Yevonde

A Personal Research Project Looking at
Two Female Photographers of the Victorian Era and Their Styles of Photography

Contents

Introduction………………………………....................................................................3

Chapter 1 - Pictorialism……………………………….................................................4

Chapter 2 - Julia Margaret Cameron………………………………..............................5

Chapter 3 - Madame Yevonde……………………………….......................................6

Chapter 4 - Analysis of Photos……………………………….................................7 -10

“Mountain Nymph” Julia Margaret Cameron 1866.……………………………...7
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Cameron’s women embody sorrow, resignation, composure and love.

Her softly lit women with unpinned hair, are full of sensuality, longing, sadness and beauty. Their powerful emotions fill the dark shadows and diffused backgrounds of their portraits. Her soft-focus technique gave her images a dream-like quality, often using dramatic and symbolic lighting. Cameron had no desire to produce sharply focussed descriptions of her models. She wanted to create photographs with the subtle qualities of light and shadow that she admired in the high drama of Old Master paintings, rather than a depiction of fact.

Cameron used the “wet” collodion negative process; a cumbersome and dangerous method, that required working with flammable chemicals in near darkness. It differed from earlier techniques, such as the Daguerreotype and the Calotype, by reducing exposure time, and producing a sharp negative from which multiple prints could be made.
Chapter 3 - Madame Yevonde

Yevonde established her studio in 1914. With a strong sense of the theatrical, her style evolved from traditional portraits, to highly stylised and slightly surreal images in the 1930s; when she famously used The Vivex Colour Process to photograph society ladies in roles from classical mythology.

Realising the highly romanticised images of stiff Edwardian beauties were no longer fashionable, Yevonde’s approach was designed to

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