{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O98847"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O98847/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2008BU5399/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2008BU5399/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2008BU5399","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AN1868","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2014HB9217","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O98847/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O98847","accessionNumber":"PH.256-1982","objectType":"Photograph","titles":[{"title":"Marianne North","type":"popular title"}],"summaryDescription":"Julia Margaret Cameron’s photographic production slowed considerably after she moved to Ceylon (now Sri Lanka) with her husband in 1875. The botanical painter Marianne North was the only European to sit for Cameron in Ceylon. In her memoir, North described the discomfort of posing for the camera under the tropical sun. \r\n","physicalDescription":"Photograph of the head and shoulders of a woman (Marianne North) wearing a lace head dress, resting her head in her left hand and looking to the left. In front of her is an open book.","artistMakerPerson":[{"name":{"text":"Cameron, Julia Margaret","id":"A8214"},"association":{"text":"photographer","id":"AAT25687"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"photographic paper","id":"AAT14190"}],"techniques":[{"text":"albumen process","id":"AAT133274"}],"materialsAndTechniques":"Albumen print from wet collodion glass negative","categories":[{"text":"Photographs","id":"THES48910"},{"text":"Portraits","id":"THES48906"},{"text":"Woman Artist","id":"THES387590"},{"text":"Woman photographer","id":"THES380381"}],"styles":[{"text":"Victorian","id":"AAT21232"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2008BU5399","2006AN1868","2014HB9217"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLF","id":"THES49656"},"free":"","case":"X","shelf":"311","box":"T"}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Sri Lanka","id":"x30937"},"association":{"text":"photographed","id":"x30151"},"note":""},{"place":{"text":"Ceylon","id":"x30937"},"association":{"text":"photographed","id":"x30151"},"note":""}],"productionDates":[{"date":{"text":"1877","earliest":"1877-01-01","latest":"1877-12-31"},"association":{"text":"photographed","id":"x30151"},"note":"date and title assigned by Cox and Ford"}],"associatedObjects":[],"creditLine":"Given by Mrs Margaret Southam, 1941","dimensions":[{"dimension":"Height","value":"28.3","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","note":""},{"dimension":"Width","value":"23.3","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","note":""},{"dimension":"Height","value":"40.3","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"mount","note":""},{"dimension":"Width","value":"30.5","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"mount","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Julia Margaret Cameron's career as a photographer began in 1863 when her daughter gave her a camera. Cameron began photographing everyone in sight. Because of the newness of photography as a practice, she was free to make her own rules and not be bound to convention. The kinds of images being made at the time did not interest Cameron. She was interested in capturing another kind of photographic truth. Not one dependent on accuracy of sharp detail, but one that depicted the emotional state of her sitter.\r\n\r\nCameron liked the soft focus portraits and the streak marks on her negatives, choosing to work with these irregularities, making them part of her pictures.  Although at the time Cameron was seen as an unconventional and experimental photographer, her images have a solid place in the history of photography.\r\n\r\nMost of Cameron's photographs are portraits. She used members of her family as sitters and made photographs than concentrated on their faces. She was interested in conveying their natural beauty, often asking female sitters to let down their hair so as to show them in a way that they were not accustomed to presenting themselves. In addition to making stunning and evocative portraits both of male and female subjects, Cameron also staged tableaux and posed her sitters in situations that simulated allegorical paintings.","historicalContext":"","briefDescription":"Photograph by Julia Margaret Cameron, 'Marianne North', albumen print, 1877","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Julian Cox and Colin Ford, et al. <u>Julia Margaret Cameron: the complete photographs.</u> London : Thames and Hudson, 2003. cat. no. 1197, p. 488."},{"reference":{"text":"","id":""},"details":"","free":"Taken from Photography Department index card catalogue"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Marianne North","id":"AUTH322124"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"woman","id":"x35642"},{"text":"naturalists","id":"AAT112034"},{"text":"artists","id":"AAT25103"},{"text":"portraits","id":"AAT15637"}],"contentConcepts":[],"contentLiteraryRefs":["'Daniel Deronda', George Eliot, 1867"],"galleryLabels":[{"text":"<i>Julia Margaret Cameron:  A Bicentenary Exhibition</i>\n\n<i><b>Marianne North</b></i>\r\n1877\r\n\r\nCameron’s photographic production slowed considerably after she moved to Ceylon (now Sri Lanka) with her husband in 1875. The botanical painter Marianne North was the only European to sit for Cameron in Ceylon. In her memoir, North described the discomfort of posing for the camera under the tropical sun. \r\n\r\nGiven by Mrs Margaret Southam, 1941\r\nMuseum no. PH.256-1982\r\n","date":{"text":"18 November 2014 – 25 September 2016","earliest":"2014-11-18","latest":"2016-09-25"}}],"partNumbers":["PH.256-1982"],"accessionNumberNum":"256","accessionNumberPrefix":"PH","accessionYear":1982,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-05-01","recordCreationDate":"2004-06-02","availableToBook":false}}