An analysis of the photography of Clementina Hawarden and Julia Margaret Cameron.
Written in 2008; 1,190 words; 2 sources; MLA; $ 40.95
Paper Summary:
This paper examines how, through technical style and the happenstance of amateur discovery, two Victorian women, Clementina Hawarden and Julia Margaret Cameron, placed their own expression into the portraits and tableaux of women. The paper specifically discusses how Cameron and Hawarden were equally, if unknowingly, seeking a release through photography and how, in projecting part of themselves, part of a fantastic desire onto reality, they found an outlet to express themselves.
From the Paper:
"In Hawarden's photographic studies it is less clear what part of herself the artist has put into her images, what inner urge is being projected; there are no hints given by titles as the images are uncaptioned. There is a sparsity of surviving writings from her own hand; unlike Cameron, she did not make even a fragmentary autobiography. In an obituary for Hawarden, Oscar Rejlander commented that she "worked honestly, in a good, comprehensible style...She also was in her manner and conversation- fair, straightforward, nay manly, with a feminine grace." While her style may have been perceived as comprehensible, the meaning of her images seems less so. There is a sense of an obscure erotic drama which utilizes "vaguely melancholic poses that hint at familiar but not quite identifiable narratives" (Armstrong)."
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