Unit:
Κατεύθυνση Ιστορία της Νεότερης ΤέχνηςLibrary of the School of Philosophy
Author:
Stamatopoulou Myrto
Supervisors info:
Ευθυμία Μαυρομιχάλη, Επίκουρη Καθηγήτρια Ιστορίας της Τέχνης, Τμήμα Ιστορίας και Αρχαιολογίας, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών.
Δημήτρης Παυλόπουλος, Αναπληρωτής Καθηγητής Ιστορίας της Τέχνης, Τμήμα Ιστορίας και Αρχαιολογίας, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών.
Δημήτρης Τζίμας, Επίκουρος Καθηγητής Ιστορίας της Φωτογραφίας, Τμήμα Φωτογραφίας και Οπτικοακουστικών μέσων, Τ.Ε.Ι. Αθήνας.
Original Title:
Η φωτογράφος Julia Margaret Cameron (1815-1879) και η επιρροή της ζωγραφικής στο έργο της
Translated title:
Photographer Julia Margaret Cameron (1815-1879) and the influence of painting on her work
Summary:
Photography is not just a record of reality, but the photographer's own interpretation of the visible world. The photographer Julia Margaret Cameron (1815-1879) is the only case of a female artist who marked her artwork in England during the second half of the 19th century. In her just fourteen-year career she managed to rapidly assimilate the so-called achievements of Photography and introduce her own aesthetic characteristics. She created an enormous volume of artistic work, including more than 1.200 photos.
In her work, humans are presented as a complete entity. Her photographs reveal the concept of femininity at a time when the woman's position within the Victorian society was very limited. All human emotions have a place in Cameron's photos; melancholy, despair, love, tenderness are all greatly attributed to her photographs. She worked so much in detail regarding the photographic techniques and aesthetics, that each of her photographs was by itself an autonomously directed one-act play.
Most of her work is composed of portraits. The main subject of this study is the way the photographer was influenced by Painting, both in terms of subject and synthesis. At first, we examine the biographical details of the photographer’s life, focusing on the intellectual and social environment of the era. Her artistic creation is divided into three periods; the beginning of her photographic career, the mature phase of her career in England and the last period of her life in Ceylon.
The main part of the study is focused on the relationship and the eclectic affinities between Painting and Photography, which have resulted to a strong imitating behavior of Photography towards Painting. We, then, examine closer the portraiture as an independent genre of visual arts and the effect of painting portraits on Cameron's work.
The main body of this paper is the study of six photographs in comparison to the paintings or the visual motifs from which the photographer was influenced aesthetically and thematically. This connection allows us on the one hand to look at the reasons why photography was based on the visual arts and on the other hand to perceive the timeless value of the portrait as a visual genre of anthropological and social interest.
Main subject category:
Fine arts - Entertainment
Keywords:
history of photography, theory of photography, history of art, photography, Julia Margaret Cameron, painting and photography, 19th century art
Number of references:
266
