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Univedty of Alberta Univedty of Alberta "As if 1 Had Wings to Fly": The VictoMn "Cult of Femuiine Beauty". Through the Lens of Julia Marparet Cameron's Pre-Raphaelite Camera Ji11 Marie MacLachtan O A thesis submitted to the Faculty of Graduate Studies and Research in partial fulliument of the requirements for the degree of Master of Arts Edmonton. Albena Fall 1999 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services sewices bibliograpfliques 395 Wellington Street 395, rue Wellington OnawaON K1AON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- C'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of ths thesis in rnicrofom, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfichelfilm, de reproduction sur papier ou sur format &ctronique. The author retains ownershp of the t'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiorn it hli la thèse ai des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. AI1 shadows once were jiee; BU?wingless now ore we, And dmedhenceforth tu be In Light's Captivity. John B. Tabb DEDICATION This undertalung is dedicated to my grandfather, Peter, whose kindness has touched many, and whose strength and vigow continue to amaze and inspire; to the memory of rny grandmother, Adeline, who filled our hearis, bodies, and minds with courage and cornfort; to my father, who se: our lives to music; and, to rny mother, who numireci my love of language, and who -'gave me such encouragement that 1 felt as if I had wing to fly with." ABSTRACT This thesis undertakes a feminist examination of the We, works, and representations of nineteenth-century British photographer. Julia Maqaret Cameron. within the context of both Victorian and kte twentieth-century visual and literary culture. In the fuxt chapter. 1 consider Victorian theories of art and photography. in order to show how Cameron's art photographs inf'luenced, informed, and subvened various aspects of Victorian visual culture. Utilking Joan Riviere's concept of the "womanliness masquerade." 1 then attempt to counter generaly accepted critical and biopphical constructions of Cameron as passive. arnateurish. and "decidedly ferninine." by reading her autobiography. "Annals of My Gkss House." as a highiy self-conscious moment of literary self-production. In Chapter Two. 1 explore both Cameron's subversive and conservative "views" on Victorian idcologies of gender and class (particuiarly as they penain to the Prc- Raphaelite Cult of Feminine Beauty). expressed through her fme art photographs of "fair women." and her poem. "On a Portrait." In the fml chapter. my focus shifts back towards the woman anist henelf, as 1 examine how and why Cameron has ken reprexnted by three twcnticth-ccntury artists: Virginia Woolf, in her phy. Freshwuter. novelist Lynne TNSS.in her book. Tennyson's Gifr. and contemporary fh-maker Sandra Goldbacher, in hcr movie, The Governess. This endeavour would not have been possible without the continued love. patience. and support of my parents. Linda and John, my brother. .. Jerry, and my '%osorn" friends and "kindred spirits": Trevor. David, Michelle, Maximiliaan, Deena. Tyler. Dr. T. E. Young. Nola--without you al, my circle could not (and, indeed, will not) ever be complete. for it takes each of you in part to help make me whole. I am especiaily pteful to my advisor and mentor. Professor Christine Wiesenthal, for her candid advice. professionalûm, thorough criticism and constant encouragement over the pst four years. You too have given me "wings to fly." 1 would ako like to tMProfessor Mary Chapman for her invaluabk assistance in my acadcrnic process; Lhda. Janice. Loretta. Ahon. and The Stationery Shop for giving me technical. einotional. as weU as "java and chocolate" support through it all: Professor Bryan Hinton. for an enijvenuig conversation on the subject of Mn. Cameron: L.J. Skhroff. and the kind, attentive. and enthusiastic stafT at Cameron House. Isle of Wight. not only for pointhg me in the direction of usehl ressources. and for mab.g my visit to Freshwater aii the more rnemorabk. but for the tremendous amount of effort they have put towards the continued pn~rvationof the Me. works. and residence of Julia Margaret Cameron. TABLE OF CONTENTS INTRODUCTION ................................................. 1 CHAPTER 1: GETTING FRAMED. GETTING (UN)FOCUSSED: Julia Margaret Cameron andin Victorian Visual Culture ..................... 8 CHAPTER 2: ''A DREAM OF FAIR WOMENw:Julia Margaret Cameron('s) Take(s) on the Pre-Raphaelite Cult of Ferninine Beauty .................. 37 CHAPTER 3: 44THELADY VANISHES": 'Mrs." Carneron "Perforrned" on the Twentieth-Centwy Cultural Stage ................................... 59 CODA .......................................................... 74 ILLUSTIUTIONS ................................................ 75 WORKSCITED .................................................. 91 APPENDIX ...................................................... 99 CURRICULUMVITAE ............................................ 1O0 LIST OF ILLUSTRATXOXS \ Figure Page 1 . Lewis Canoll. Julia Margarer Caineron and her Sons. charles and Heny. ca.1858 ....................................................... 75 2 . Henry Herschel Carneron. Portrait of Julia Morgaret Cumeron. 1870 ...... 75 3 . Dante Gabriel Rossetti. ïhe Roselecrf, 1870 ........................... 76 4. Julia Margaret Cameron. Pre-RaphaeZiie Stud'. 1870 ................... 76 5 . Julia Margaret Cameron. L 'lncoronora. ca . 1865 ....................... 77 6 . Julia Margaret Cameron. neShadow of the Cross. 1865 .............:.. 77 7 . Julia Margaret Cameron. neAngel in the House. 1871 ................. 78 8. Julia Margaret Cameron. Dora as the BriddMrs . Ewan Corneron. 1869 .... 79 9 . Julia Margaret Cameron. 17re Passion Flawer ut the Gate. 1867 .......... 79 10 . Julia Margaret Cameron. Rebecca. 1870 ............................. 80 1 1. Dante Gabriel Rossetti. Ecce Ancilla Domine!. 1 850 ................... 81 12 . Julia Margaret Cameron. Pornono. 1872 ............................. 82 13. Julia Margaret Cameron. H'path. 1867 ............................. 83 14 . Julia Margarct Cameron. Be. Maid ofkhens. 1866/70 ................. 84 15 . Julia Margaret Cameron. nie Angel ai ihe Tomb. 1870 ................. 85 16 . Julia Margaret Cameron. Holy Family. 1864 ......................... 85 1 7 . Julia Margaret Cameron. Mouniain Nymph . Sweet Liberv. 1866 ......... 86 18 . Julia Margaret Cameron. neEdo. 1868 ........................... 87 20 . Julia Margaret Cameron. Christabel. 1866 ........................... 89 2 1. Julia Margaret Cameron. Vivien and Merlin. 1874 ..................... 90 i INTRODUCTION My personal interest in Victorian photography aside. this propct is primarily the end result of my own dissatisfaction with the critical. biographical, and aesthetic constructions of Victorÿin an photoppher. Julia Margaret Cameron, which have appeared in the century that has elapsed since her death in 1879. Mer having conducted my own research into Carneron's life and works. it is my general sense that most contemporary cntical analyses of Cameron have tended to focus their energies on ncuperating the reputation of her photographs from vituperative Victorian reviewers and conciexendhg biographen (panicukrly her photos of women and her Pre-Raphaelite tableaux. which have, untii very recently. still been considered amateurish and not wonhy of serious critical attention): very few have been concemed with atternpting to rescue Cameron's own reputation from Heimut Gemsheim and other early twentiethsentury critics who have created and cuculated potentially âamaging constructions of her as a bumbling. naive. and decidedly "feminine" amateur. In the same way that most (re)viewers of Cameron's work have nfused to see her use of sofi focus as conscious and deliberate, and have instead attributed the haziness of her photos to "accident." defective equipment. or poor eyesight. many recent critics have deerned any potentially subversive stnins appearing in either Cameron's life or her art as "unintentional."' Other extant studies of Cameron have "overlooked" any incongruencies ' Accding to GchdJoscph. "[ilt has ken suggsied by Cdin Ford that Juiia Marpret Camrm's addictiori to blumd fms has its own sairre in an 'intimiiiy of vision' thal rnarkpd several dber childl~n"(47). or potentially transgressive strains aitogether. in order to enforce a readinp of both the woman and her photographs as unproblematicaliy "conservative."' This has particularly ken the case in discussions of Cameron's approach to Victorian gender ideology (again. in her life as weîl as in her art)--the most recent king Carol Mavor's critique of Cameron's "Madonna" photos. in her book Pleusures Taken. Overall. Mavor 's analysjs provides a sensitive. broad-rang hg, and extremely compehg reading of Cameron's "Madonna" studies. But while Mavor's work is pariicularly successful in its argument for the su bvenive potential of the technique and uyk of Cameron's photopphy. it tends to negate Cameron's active agency in the creative process. Even
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