Julia Margaret Cameron is one of the most significant photographers in Victorian, with her unique aesthetic perception, handmade photographs, and illusion blurry images. In this reflective journal, I am going to focus on Cameron’s photograph“Pomona’’. Firstly, I am going to introducing the connection with the V&A museum and Cameron, about the description with the display and the exhibition. Secondly, I will write my first encounter with the visual analysis about“Pomona’’, then with the further analysis of the artworks, in the last two sections, I am going to discuss Lewis Carroll’s “The Beggar Maid”, and make the comparison with“Pomona’’ in the conclusion.
“Pomona’’ is located in The Photography Centre in the V&A museum on the right-hand side of the wall when you come in. It is organized by The Royal Photographic Society Collection at V&A, acquired with the Heritage Lottery Fund and Art Fund. The Photography Centre was originally beginning with the first director Henry Cole, as an amateur photographer, he devoted himself to be a pioneer in the art of photography. He created the photography collection in 1856 which called the South Kensington Museum, now V&A. During that time period, many photographs from Cameron were exhibited and obtained at the South Kensington Museum. After 12 years later, Julia Margret got her first artist community with two rooms as her portrait studio in V&A, became the first artist and resident.
When I first walked into the Photography Centre in the V&A museum, I found the lighting seemed a bit darker than the other exhibition, all of the walls are painted with dark blue, which shows a big contrast with all of the white frame photographs. Then I appealed by Julia Margaret Cameron’s photograph “Pomona’’ with a beautiful woman portrait. In the photograph, there is a lady who looks youth standing in front of some plants with her right arm akimbo, and left hand with a piece of plants, both of her eyes are staring at the camera which make the viewers feel she is actually staring at you. The plants in the background don’t feel just like a background, it seems to embrace her, all surrounded by this lady.” Pomona” It’s a portrait scale photograph in black and white color on Albumen silver print from glass negative, in a size 36.4cm times 26.3cm took in 1872. Rather than demonstrating a strong contrast of the black and white images, it makes viewers feel in a tender way due to its soft texture with the grey tone, furthermore, the image is not a full clear image. It focuses on Alice’s face and makes the front scene blurry, so the photograph has less sharpness. The model in this photograph is Alice Liddell, Cameron pictured her as the goddess of the Roman chards and gardens, brings up fruitful abundance, standing in front of foliage with one hand holding a pruning. (Pomona | Cameron, Julia Margaret | V&A Search the Collections, 2020)
The blurry soft, tender with the smudge portraits illustrate the main feature of Cameron photographs, she processed her pictures out-of-focus in purpose, and it usually came with the scratches, smudges, and sometimes even came out with her fingerprints. (V&A · Julia Margaret Cameron – an introduction, 2020)
In the mid 19 century, she refused the hyperfine way of processing photographs, compared to other artists that try to avoid all of the flaws, Cameron embracing them as part of her photography. (Julia Margaret Cameron’s working methods, 2015) In that time period, the camera was created for illustrating impartial reality, photography seemed to be utensil for artists, and often produced images with a serious sharp focus. (Nineteenth-Century Photography, 2020). Instead of using the dark room, she produced the images in nature photochemistry, processing each step by hand from exposing, washing, toning, drying to mounting, and it took lots of time than using the machine. (Cox, Ford, Lukitsh and Wright, 2003 p.8) Marta Weiss- the curator of photography in V&A once spoke in the video, she said: “When you look at her photograph, you can feel the energy of she expressing herself artistically, those imperfection are very attractive to the contemporary audience, we can see there are handmade projects, but not cold precise result from the machine.” (Julia Margaret Cameron’s working methods, 2015) Due to that method of making, her photographs with the irregular dark spots and soft texture become the distinguishing characteristic in her photography lifetime.
Cameron liked to depict the photographs with the theme of beauty with high moral intention. She said, “My aspirations are to ennoble Photography and to secure for it the character uses of High Art by combining the real and Ideal and sacrificing nothing of the Truth by all possible devotion to Poetry and beauty” (Cox, Ford, Lukitsh and Wright, 2003 p.41) In “Pomona” she set up a scene for 20-year old Liddell as the goodness of chard. In her photographs she often gave her models to act as a model character from the literature, Shakespeare or poet, and so did Liddell. (Cox, Ford, Lukitsh and Wright, 2003 p.176) It is all due to her perspectives of women portraits, for example, bringing some ideas of divine, love, grace, beauty…and so on in her photographs. (Cameron and Howard, 1990, p.10) The inspiration for Cameron photography was organed from Pre-Raphaelite and Victorian genre painting, she used the same composition and poses to reflect with the old master painting in her early period. (Cameron and Howard, 1990, p.15) She reflected the key constituents in Victorian, with passion, certitude, belief, religion, and culture to be regraded in her photographs. (Cameron and Howard, 1990, p.10) Furthermore, she wanted her photographs to be High art, just like the old master paintings. Cameron insisted with her sensuousness in her photographs, created lots of good look, mythical, artistic, dreamlike photographs. From those perspectives, Cameron brought her good aspect of capturing the models and giving her aim of aesthetic High art to the audience.
Liddell, the model of the photograph in “Pomona” is also pictured by another photographer, Lewis Carroll. He is well known from his fiction-Alice’s Adventures in Wonderland, and that little girl in the fiction is depicted, Alice Liddell. He often pictured her in his photography lifetime, especially in her childhood. “The Beggar Maid” was taken in 1858 when Liddell was at the age between seven and eight, dressing up with ragged clothe leaning on the wall full of moss, her expression with both eyes staring at the camera really catch the viewer’s attention. Compare to Cameron’s“Pomona” and Carroll’s “The Beggar Maid”, both of the images made Liddell dressed up with the specific character rather than acting themselves, “Pomona” (1987) was taken around thirteen years later than “The Beggar Maid” (1858), so in“Pomona” Liddell was already a grown-up lady, and according to the technique and aesthetics from Cameron, she really likes goodness in the photograph with the reverie and unfocused length. But in Carroll’s photograph, it is focused on the whole scene, so it creates a steady feeling atmosphere, with a stronger black and white contrast. Both
To sum up, Julia Margaret Cameron’s