{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O98920"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O98920/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2014HB9215/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2014HB9215/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2014HB9215","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AN1839","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O98920/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O98920","accessionNumber":"PH.255-1982","objectType":"Photograph","titles":[{"title":"Lady Elcho / A Dantesque Vision","type":"popular title"}],"summaryDescription":"Julia Margaret Cameron’s earliest photographic subjects were family and friends, many of whom were eminent literary figures. These early portraits reveal how she experimented with dramatic lighting and close-up compositions, features that would become her signature style.\r\n\r\nIn May 1865 Cameron used her sister’s London home, Little Holland House, as her photographic headquarters. Her sister Sara Prinsep, together with her husband Thoby, had established a cultural salon there centred around the artist George Frederic Watts, who lived with them. Cameron photographed numerous members of their circle on the lawn. These included artists, writers and collectors and Henry Cole, the director of the South Kensington Museum. \r\n\nCameron clothed Lady Elcho in flowing draperies to suggest a character out of Dante, author of the 14th-century poem the<i> Divine Comedy</i>. Cameron wears the same large, paisley-edged shawl in the portrait by her son. The fragmented female figure at the far left of the frame may have been assisting Cameron.","physicalDescription":"Photograph of a lady (Lady Elcho), wearing a long robe and her hair covered, beside a tree.","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":["2014HB9215","2006AN1839"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLF","id":"THES49656"},"free":"","case":"X","shelf":"311","box":"I"}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"photographed","id":"x30151"},"note":""}],"productionDates":[{"date":{"text":"1865","earliest":"1865-01-01","latest":"1865-12-31"},"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":"27.3","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","note":""},{"dimension":"Width","value":"22.5","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"image","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, 'Lady Elcho / A Dantesque Vision', albumen print, 1865","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. 218."},{"reference":{"text":"","id":""},"details":"","free":"David Bindman, Stephen Hebron and Michael O'Neill, <u> Dante rediscovered. From Blake to Rodin</u>, Grasmere, The Wordsworth Trust: 2007. ISBN: 978 1 905256-23-5."},{"reference":{"text":"","id":""},"details":"","free":"Taken from Photography Department index card catalogue"},{"reference":{"text":"Bindman, David, <i>Dante Rediscovered: from Blake to Rodin</i>, Grasmere, Wordsworth Trust, 2007","id":"AUTH356068"},"details":"","free":""}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Lady  Anne Frederica Elcho","id":"AUTH321473"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"Lady","id":"x47800"},{"text":"portraits","id":"AAT15637"}],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"<i>Julia Margaret Cameron:  A Bicentenary Exhibition</i>\n\n<b>Lady Elcho / A Dantesque Vision</b>\r\n1865\r\n\r\nCameron clothed Lady Elcho in flowing draperies to suggest a character out of Dante, author of the 14th-century poem the Divine Comedy. Cameron wears the same large, paisley-edged shawl in the portrait by her son. The fragmented female figure at the far left of the frame may have been assisting Cameron. \r\n\r\nGiven by Mrs Margaret Southam, 1941\r\nMuseum no. PH.255-1982\r\n","date":{"text":"18 November 2014 – 25 September 2016","earliest":"2014-11-18","latest":"2016-09-25"}}],"partNumbers":["PH.255-1982"],"accessionNumberNum":"255","accessionNumberPrefix":"PH","accessionYear":1982,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-08-01","recordCreationDate":"2004-06-04","availableToBook":false}}