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PAINTING VERSUS PHOTOGRAPHY in the ROMANCE of a SHOP and CAPTURING the NEW WOMAN THROUGH a MECHANICAL LENS Sarah Michelle Naciuk Clemson University

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PAINTING VERSUS PHOTOGRAPHY in the ROMANCE of a SHOP and CAPTURING the NEW WOMAN THROUGH a MECHANICAL LENS Sarah Michelle Naciuk Clemson University Clemson University TigerPrints All Theses Theses 5-2015 PAINTING VERSUS PHOTOGRAPHY IN THE ROMANCE OF A SHOP AND CAPTURING THE NEW WOMAN THROUGH A MECHANICAL LENS Sarah Michelle Naciuk Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Naciuk, Sarah Michelle, "PAINTING VERSUS PHOTOGRAPHY IN THE ROMANCE OF A SHOP AND CAPTURING THE NEW WOMAN THROUGH A MECHANICAL LENS" (2015). All Theses. 2098. https://tigerprints.clemson.edu/all_theses/2098 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. PAINTING VERSUS PHOTOGRAPHY IN THE ROMANCE OF A SHOP AND CAPTURING THE NEW WOMAN THROUGH A MECHANICAL LENS A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Sarah Michelle Naciuk May 2015 Accepted by: Dr. David Coombs, Committee Chair Dr. Erin Goss Dr. Kimberly Manganelli ABSTRACT Majority of Amy Levy’s scholarship is predominantly focused on her Jewish identity and its relationship to her novel Ruben Sachs. Importantly, very little scholarship has been done on her novel The Romance of a Shop. Both Elizabeth Evans and Michael Kramp have discussed Levy’s desire to create a place for professional women in the urban landscape. However, neither of these scholars have critically analyzed the New Woman and its connection to photography and painting, only briefly glancing at Lady Watergate’s Post-mortem photograph. By ignoring this scene and the New Woman’s connection to photography, they have missed the opportunity to see how Levy is able to create a voice for the New Woman. I argue that in The Romance of a Shop, the relationship between photography and the New Woman becomes apparent by analyzing Darrell’s painting of Phyllis and Gertrude’s photographing of the deceased Lady Watergate and their different representations of female nature. These scenes show that the confrontation between painting and photography is due to the fact there is no specific artist in photography, whereas in painting there is a prevalent masculine artist’s agency. Notably, the artist’s imagination is constructed by the patriarchal archetypes of the Angel of the House and the Beloved. Crucially, Levy refused to allow her female characters to be these archetypes and eliminates the artist’s agency over the female image through mechanical objectivity. When Gertrude photographs Lady Watergate, Gertrude becomes an image maker and ceases to be an archetype. She documents Watergate’s realistic decaying state and through this process the ideal classification of the Beloved is destroyed, which ii permits the spectator to see past the ideal female figure and see their own mortality. Levy eliminates the patriarchal archetypes of the Beloved and the Angel of the House. Ultimately, through Gertrude’s position as a photographer, Levy offers a new female position, which allows the New Woman to escape archetypal placement and enter the narrative of the image maker. When the New Woman becomes a photographer, she escapes the patriarchal gaze and ceases to be a distilled archetype. iii DEDICATION I would like to dedicate this thesis to my family, Brenda Naciuk, Don Naciuk, and Marisa Naciuk. I would also like to thank my committee members, Dr. David Coombs, Dr. Erin Goss, and Dr. Kimberly Manganelli. Thank you for being there for me and always putting a smile on my face. iv TABLE OF CONTENTS Page TITLE PAGE .................................................................................................................... i ABSTRACT ..................................................................................................................... ii DEDICATION ................................................................................................................ iv CHAPTER I. INTRODUCTION ......................................................................................... 1 II. THE EMERGENCE OF THE NEW WOMAN AND ITS CONNECTIONS TO PHOTOGRAPHY ............................................................................. 3 III. MECHANICAL OBECTIVITY AND THE ARTISTIC FEUD BETWEEN PAINTING AND PHOTOGRAPHY .................................................... 11 IV. THE PAINTED AND LIFELESS IMAGES OF THE ANGEL OF THE HOUSE AND THE BELOVED ............................................................ 14 V. PHOTOGRAPHY AND GERTRUDE’S CONNECTION TO THE NEW WOMAN................................................................................................ 32 VI. GERTRUDE’S PHOTOGRAPH OF LADY WATERGATE AND THE LIBERATION OF THE FEMALE IMAGE…………………………..36 REFERENCES………………………………………………………………………...42 v CHAPTER ONE INTRODUCTION In Amy Levy’s The Romance of a Shop, there is a rivalry between painting and photography, and this conflict is because of the scandalous New Woman figure. In the novel, the Lorimer sisters, Phyllis, Gertrude, Frances, and Lucy open a photography studio after their father’s death in order to gain financial security. Significantly, the sisters use this new form of mechanical labor in order to enter the public sphere and gain independence. By connecting photography with female independence and the New Woman, Levy breaks the boundaries of the public and private spheres. The relationship between photography and the New Woman becomes apparent with painting’s and photography’s different representations of femininity. To demonstrate this connection, I will be focusing on two key scenes within the novel: when Darrell paints Phyllis and when Gertrude photographs the deceased Lady Watergate. These scenes show that the confrontation between painting and photography is due to the fact there is no specific artist in photography, whereas in painting there is a prevalent masculine artist’s agency, which is connected to the patriarchal system. In painting, the female image is defined by the masculine artist’s imagination. His imagination and cultural notions are explicitly tied to the patriarchal archetypes of the Angel of the House, the ideal wife and moral guide, and the Beloved, the seductive siren and ideal Renaissance beauty. In the novel, these unrealistic female classifications transform women into ideal aesthetic figures. For this reason, when Darrell paints Phyllis, he imagines and constructs her as the Beloved. However, the patriarchal vision does not 1 exist in photography’s Post-mortem genre. Instead, it is replaced by mechanical objectivity: letting nature speak for itself through mechanical reproduction. Ultimately, the camera offers freedom from will, eliminating the artists’ agency and their vision of nature. Through mechanical objectivity, Levy is able to eliminate the artist’s agency over the female image. When Gertrude photographs Lady Watergate, Gertrude ceases to be an archetype and instead becomes an image maker. Notably, Gertrude does not capture the “ideal” female image, but rather documents Watergate’s realistic decaying state. Due to this gesture towards death, the ideal classification of the Beloved is destroyed, which permits the spectator to see past the ideal female figure and recognize their own mortality. Through Gertrude’s position as a photographer, Levy offers a new female position linked to photo-realism and mechanical objectivity. Thus, Levy is able to eliminate the patriarchal archetypes of the Beloved and the Angel of the House, allowing the New Woman to escape archetypal placement and enter the narrative of the image maker. 2 CHAPTER TWO THE EMERGENCE OF THE NEW WOMAN AND ITS CONNECTIONS TO PHOTOGRAPHY In The Romance of a Shop, photography not only redefines the traditional vision of art, but it also redefines the female’s position in Victorian society, connecting the idea of the New Woman with photography itself and mechanical labor. Traditionally, patriarchal Victorian society asserted that a woman’s place was in the private, domestic sphere, whereas the man’s place was in the public sphere. Therefore, it was concluded that women should not venture into the public sphere because it would morally corrupt them. Despite this moral danger, when the Lorimers’ father, the primary patriarchal figure in the novel, dies the sisters are left in financial ruin and decide to open a photography business, which primarily documents art pieces. Notably, by producing these images, the sisters defy the barrier between the masculine public and feminine private. However, the sisters not only produce images for the marketplace, but also become spectacles themselves as women in business. By entering the public view, they become the ultimate spectacle, the New Woman. In this manner, photography becomes the occupation of the New Woman. However, the New Woman was primarily a discursive figure, presenting an inconsistent identity. She both enacted a performance of passivity for the patriarchal system and a declaration of independence. According to Sally Ledger and Roger Luckhurst, “the New Woman entered the vocabulary as a popular term in 1894, in a pair of articles by Sarah Grand and ‘Ouida’ in the North American Review” (75). Through 3 regular appearances in periodical articles the New Woman became a familiar phrase. By the 1890s, the question of the New Woman became a cultural phenomenon, appearing as a fictional archetype in novels, short stories, newspapers, magazine articles, and plays. In many cases, the New
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