why is julia margaret cameron important

[17], In her 12-year career, Cameron produced around 900 photographs. [8]:25,41–42,496, In 1865, she became a member of the Photographic Society of Scotland and arranged to have her prints sold through the London dealers P. & D. [9] She also met Charles Hay Cameron, twenty years her senior and a reformer of Indian law and education who later invested in coffee plantations in what is now Sri Lanka. [7][a] Julia lived there with her maternal grandmother from 1818 to 1834, after which she returned to India. In 2003, the J. Paul Getty Museum published a complete catalogue of Cameron's known surviving photographs. In 1869, she created The Kiss of Peace, which she considered her finest work. [19] She presented a series of photographs, The Fruits of the Spirit, to the British Museum,[8]:8 and held her first solo exhibition in November 1865. "[5], In August 1865, the South Kensington Museum, now the Victoria and Albert Museum, purchased 80 of her photographs. Julia Margaret Cameron, original name Julia Margaret Pattle, (born June 11, 1815, Calcutta, India—died January 26, 1879, Kalutara, Ceylon [now Sri Lanka]), British photographer who is considered one of the greatest portrait photographers of the 19th century. "[5], Her mature photographs of women are noted for their subtle but suggestive representation of the obscurity and malleability of female identity. [13], Benjamin Jowett echoed this when describing Cameron's reverence to these creative personalities after a later visit to the same salon-like atmosphere at Freshwater, "She is a sort of hero-worshipper, and the hero is not Mr Tennyson — he only occupies second place — but Henry Taylor. On 29 January 1864 she photographed nine‐year‐old Annie Philpot, an image she described as her "first success". The hens were liberated, I hope and believe not eaten. [8]:8, In the early 1870s, Cameron's work matured. I did not know where to place my dark box, how to focus my sitter, and my first picture I effaced to my consternation by rubbing my hand over the filmy side of the glass.[2]. Mrs. Cameron was a voluminous correspondent, sometimes 300 lengthy letters a month to friends and family. [5], Children — her own children, those of relatives, and young locals — were often models for Cameron. [4] The gift was meant to provide a diversion while her husband was in Ceylon tending to his coffee plantations. She also produced sensitive portraits of women and children. Cameron wrote: "My husband from first to last has watched every picture with delight, and it is my daily habit to run to him with every glass upon which a fresh glory is newly stamped, and to listen to his enthusiastic applause. New York: Abbeville Press Publishers, 2010. p. 52. [8]:129, Cameron took literature as inspiration for her illustrative photographs, representing characters from Shakespeare, Elizabethan poems, novels, plays, and the work of her contemporaries: Alfred Tennyson, Henry Taylor, Christina Rossetti, Robert Browning, and George Eliot. [10][11] Here, she met many of the well-known subjects of her later portraits, including Henry Taylor and Alfred Tennyson. With less dramatic lighting and a more typical distance between the sitter and the camera, these images are less dynamic and more conventional than her images of men. The couple had six children, and in 1860 the family [2], Cameron was an educated and cultured woman; she was a Christian thinker familiar with medieval art, the Renaissance, and the Pre-Raphaelites. An exhibition at the National Portrait Gallery in London in March 2018 placed her work in relationship to the work of her Victorian contemporaries, Lady Clementina Hawarden, Oscar Rejlander, and Lewis Carroll.[31]. [3][10], In 1848, Charles Cameron retired fully and invested in coffee and rubber plantations in Ceylon, becoming one of the island's largest landowners. Omissions? Its subject is an Italian model who generally sat for Victorian painters. Later, in collaboration with Roger Fry, Woolf also edited the first major collection of Cameron's photographs, Victorian Photographs of Famous Men and Fair Women, published in 1926. [8]:9, After a short visit to England six months earlier, Cameron fell ill with a dangerous chill[4] and died on 26 January 1879[9] at the Glencairn estate in Ceylon. [3][4] His family had been involved with the East India Company for many years, though he traced his line to a 17th-century ancestor living in Chancery Lane, London. [11] The press compared their photographic work and noted the similarities in style and their consideration of the medium as fine art. Julia was the fourth of ten children and one of seven to survive to adulthood;[3] three of her siblings died as infants. The daughter of an officer in the East India Company, Julia Margaret Pattle married jurist Charles Hay Cameron in 1838. This prompted Cameron to issue a deluxe version of the Idylls of the King which featured a series of twelve photographs as full-size prints. [12][1], Parting of Sir Lancelot and Queen Guinevere 1874, In her own time, Cameron's photographs found a contentious audience, with many criticising her use of soft focus and her unretouched prints.[3]. [3] It is often reported that her last word was "Beauty"[1][12] or "Beautiful". [8]:434, Maud "There has Fallen a splendid Tear From the Passion Flower at the Gate", 1875, "He thought of that sharp look Mother I gave him yesterday"/"They call me cruel hearted, I care not what they say", 1875, "So now I think my time is near – I trust it is – I know"/"The blessed Music went that way my soul will have to go", 1875, In 1874, Alfred Tennyson asked Cameron to create illustrations for a new edition of his Idylls of the King, a popular series of poems about Arthurian legends. She is known for her soft-focus close-ups of famous Victorian men and for illustrative images depicting characters from mythology, Christianity, and literature. No-one would imagine that the artist who produced the marvellous Carlyle would have produced such childish trivialities. Her photography career was short but productive; she made around 900 photographs over a 12-year period. After receiving a camera as a gift, Julia Margaret Cameron began her career in photography at the age of forty-eight.

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