Podcast appearances and mentions of Julia Margaret Cameron

Mit einer geschenkten Kamera stürzt sich Julia Margaret Cameron (geboren am 11.6.1815) in ein künstlerisches Abenteuer. Sie wird zur wichtigsten Fotopionierin des viktorianischen Zeitalters. Von Andrea Klasen.

Linda Tugnoli"Art Night"Rai5Art Night – Il volto e l'animaIndagine sul ritratto femminileL'intelligenza artificiale ha un problema con le donne, in particolare, con il modo con cui crea immagini che dovrebbero rappresentarle. Molti osservatori hanno notato che tende a generare, qualunque sia il “promt”, cioè la richiesta, donne troppo perfette, ipersessualizzate, preferibilmente dai tratti occidentali. Nei suoi dataset si sono depositati pregiudizi e bias preesistenti, impliciti nei milioni di immagini con cui è stata nutrita. Lo racconta il doc “Indagine sul ritratto femminile”, in onda mercoledì 21 maggio alle 21.15 in prima visione su Rai 5 per l'Art Night di Neri Marcorè.L'arte ha aiutato a forgiare quest'immagine archetipica del femminile? O potrebbe, invece, rappresentare un antidoto alla standardizzazione dei canoni estetici oggi in atto? Una storia del ritratto femminile è un viaggio che dalle Veneri preistoriche senza volto giunge fino al ‘900, in cui gli artisti hanno utilizzato il ritratto anche per esplorare tematiche di genere, identità e potere, a volte sfidando le convenzioni sociali e le aspettative riguardanti il “bel sesso”. Un viaggio che attraversa quindi numerose tematiche, dall'evoluzione dei canoni di bellezza femminile, al ruolo della donna nella società e nell'immaginario artistico e letterario maschile, alla nascita di un'arte “al femminile”, a una storia del costume. Giada Pistilli, responsabile dell'etica per una piattaforma di intelligenza artificiale franco-americana, Hugging Face, con sede a Parigi, punta il dito contro i limiti e i bias relativi all'immagine femminile, ipersessualizzata e stereotipata, nell'AI e nel mondo di Internet in genere. Per l'arte preistorica, dove dominano rappresentazioni femminili della fertilità e della maternità, si visita il Musée d'Archéologie Nationale in Francia, a St. Germain-en-Laye, intervistando Catherine Schwab, responsabile delle collezioni paleolitiche e mesolitiche, sulla celebre Dama di Brassempouy, forse il volto più antico nella storia dell'arte europea con i suoi 25.000 anni. Per l'arte egizia, Christian Greco, Direttore del Museo Egizio a Torino parla dei ritratti di due bellissime regine, Nefertiti e Tye. Luana Toniolo, Direttrice del Museo Nazionale Etrusco di Villa Giulia a Roma e Vincenzo Bellelli, Direttore del Parco Archeologico di Cerveteri e Tarquinia, vanno in uno straordinario viaggio attraverso le rappresentazioni femminili nell'arte etrusca, sottolineando il diverso ruolo sociale della donna nel mondo etrusco rispetto al mondo greco-romano. Fabrizio Paolucci, responsabile della Collezione delle Antichità Classiche delle Gallerie degli Uffizi, a Firenze, racconta la meravigliosa Giulia di Tito, un capolavoro della ritrattistica romana del II secolo d.C. Si indaga, inoltre, su un interessante fenomeno seicentesco, “Le stanze delle belle”, quelle “serie” o collezioni di ritratti femminili che riunivano tutte le esponenti delle famiglie nobili, con Francesca Cappelletti, Direttrice della Galleria Borghese a Roma, che a questo tema così particolare ha dedicato un libro, con Francesco Petrucci, conservatore del Palazzo Chigi in Ariccia dove si conserva una delle rarissime Stanze delle belle giunte fino a noi e Veronica Ambrosoli, responsabile dell'Ufficio Conservazione del FAI, Fondo Ambiente Italiano, che apre le porte dello straordinario Castello di Masino, nel Canavese, che ospita una collezione di belle donne francesi. Con Cristina Mazzantini, Direttrice della Galleria Nazionale d'Arte Moderna e Contemporanea, a Roma, si arriva fino alle soglie della modernità analizzando il fondamentale cambiamento del ruolo delle donne nella società tra ‘800 e ‘900, evidente nei volti affascinanti di Modigliani, Klimt o di Boldini conservati alla GNAM. Grazie a un accordo di collaborazione con il prestigioso Museo d'Orsay, a Parigi, che ospita la più importante collezione di opere d'arte della seconda metà dell'ottocento e in particolare dell'impressionismo, Sylvie Patry e Leïla Jarbouai approfondiscono il cambiamento forse più importante per il ritratto femminile nell'era moderna: la conquista di uno spazio autonomo da parte di artiste donne come Berthe Morisot, tra i fondatori del movimento impressionista, grazie alle quali finalmente acquista diritto di cittadinanza nel mondo dell'arte lo sguardo delle donne sulle donne. Anche tra i pionieri della fotografia, più o meno negli stessi anni, si possono annoverare diverse donne, come per esempio Julia Margaret Cameron, che, secondo Federica Muzzarelli, docente di Storia della Fotografia all'Università di Bologna, colgono con sorprendente rapidità e originalità le potenzialità proprie del nuovo mezzo, forse approfittando proprio della loro marginalità rispetto al mondo ufficiale della cultura e dell'arte.Il documentario, scritto da Linda Tugnoli e prodotto da Mark in video in collaborazione con Rai Cultura, è stato girato in Italia e in Francia integrando in modo sperimentale le tradizionali tecniche di ripresa e di grafica con tecniche di animazione con intelligenza artificiale. Art NightIndagini sull'autoritrattoViviamo nell'era del selfie: l'ultimo decennio ha visto la costruzione di un nuovo io, idealizzato, esibito e condiviso sui social; dappertutto nascono musei del selfie che predispongono sfondi appositi perché non ci basta più collezionare immagini di noi nel mondo. Secondo alcuni, questa nuova identità digitale rischia di svuotarci della nostra interiorità. L'arte è un punto di osservazione privilegiato su questo aspetto del mondo contemporaneo. Lo racconta “Indagini sull'autoritratto”, in onda in prima visione per l'Art Night di Neri Marcorè mercoledì 28 maggio alle 21.15 su Rai 5.L'autoritratto ha uno statuto assolutamente particolare all'interno della storia dell'arte: si trova all'intersezione di almeno tre elementi centrali: l'artista, la sua arte e la sua persona, intesa nel doppio significato del personaggio pubblico che l'artista intende mettere in scena e dell'individuo con la sua verità, con i suoi tratti distintivi, fisiognomici e caratteriali. Il compito di creare un proprio volto che resterà per sempre può far vacillare l'artista più sicuro di sé. A volte le facce non sono giuste, non hanno l'aspetto che dovrebbero avere: Van Dick, autore di austeri ritratti di nobili e di reali, sembra un bambino biondo; Delacroix così appassionato, così romantico, ha due baffetti a spazzola sotto un naso un po' antipatico; Degas ha un'aria un po' imbambolata; Rembrandt, nella serie di autoritratti più formidabile della storia dell'arte, non riesce a decidersi nemmeno sul suo colore d'occhi o di capelli, ma ci rivela che l'identità individuale è mutevole, come sono mutevoli le alterne fortune della vita e i segni che lo scorrere del tempo lascia sul corpo.C'è differenza tra un selfie e un autoritratto? Questo è stato il punto di partenza di questo viaggio, a Parigi, insieme a Dominique Cardon, sociologo del Médialab dell'università di SciencesPo.Il documentario, scritto da Linda Tugnoli e prodotto da Mark in video in collaborazione con Rai Cultura, è stato girato in Italia e in Francia integrando in modo sperimentale tecniche di animazione con intelligenza artificiale alle tradizionali tecniche di ripresa e di grafica.Linda Tugnoli vive tra Roma – dove lavora come autrice e regista di documentari, soprattutto per la Rai – e la campagna sabina, dove abita in un casale con il marito, tre figli, un orto, una serra e svariati cani di grossa taglia che periodicamente devastano l'orto e la serra. Ha contratto anni fa quello che gli inglesi chiamano il bug del giardiniere: una spiccata tendenza a parlare troppo di piante e di fiori. La forma del ghiaccio è il terzo romanzo dedicato alle indagini del giardiniere Guido.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Giuliano Sergio"Blow-up. Piero Manzoni e l'esplosione dei nuovi media"Electa Editorewww.electa.itIl saggio di Giuliano Sergio analizza la visionaria coerenza con cui Piero Manzoni, fra i più celebri artisti del Novecento, intuì il ruolo fondamentale che negli anni Cinquanta assumevano i mass-media nella definizione dei linguaggi artistici e della figura dell'artista. Alla fine degli anni Cinquanta l'icona romantica dell'artista-genio, rappresentata da Jackson Pollock, si impone tramite il racconto fotografico e cinematografico dei suoi gesti, suggerendo un modello di fusione fra arte e vita che diviene una vera e propria lettura critica dell'opera.Dal rifiuto dell'action painting, dei “gesti inutili” di Pollock e dei suoi seguaci, nasce la complessa immagine di Manzoni, costruita in maniera diametralmente opposta. Il suo “gesto” si concretizza nell'0sservare con laica ironia il dispiegarsi dell'opera: lo svolgersi della linea, lo gonfiarsi del corpo d'aria, l'estendersi della superficie achrome. Le azioni che Manzoni interpreta per i cinegiornali – Lunghe Linee, Corpi d'aria, Sculture viventi, Uova scultura – sono filmate come scene di cabaret; l'artista ricorre alla fotografia pubblicitaria per promuovere la sua merda d'artista; costruisce reportage paradossali dove firma modelle nude e contrassegna uova sode con la propria impronta. Sono immagini prodotte per essere pubblicate nelle riviste illustrate o da proiettare durante gli intervalli al cinema: Manzoni si rivolge al grande pubblico per seminare il dubbio sul ruolo dell'artista e sulla funzione dell'arte. Agli albori del consumismo la genialità manzoniana sposta l'attenzione dal “prodotto” all'autore, dando un'indicazione precisa all'avanguardia italiana e avviando un'importante lezione rispetto al concetto di comportamento e l'identità che diventeranno uno dei nodi dell'arte povera e processuale.Giuliano Sergio, nato a Venezia nel 1974 insegna storia dell'arte, è critico e curatore. Tra le pubblicazioni: Ugo Mulas. Vitalità del negativo (Milano 2010); Information document œuvre (Parigi 2015); Atlante degli archivi fotografici e audiovisivi italiani digitalizzati (Venezia, 2015). Tra le mostre: Luigi Ghirri. Pensare per immagini (MAXXI, Roma 2013; IMS, San Paolo e Rio de Janeiro 2013-14); Paolo Gioli. Abuses (Villa Pignatelli, Napoli 2014); La montagne de Venise di Yona Friedman con Jean-Baptiste Decavèle (Venezia 2016); Julia Margaret Cameron, Florence Henri, Francesca Woodman. L'arte del femminile (Villa Pignatelli, Napoli 2017); Le Pietre del Cielo. Luigi Ghirri e Paolo Icaro (Fondazione Querini Stampalia, Venezia 2017-18); Renverser ses yeux. Autour de l'arte povera 1960-1975 : photographie, film, vidéo (Jeu de Paume e Le Bal, Parigi 2022-23). Con l'Archivio Ugo Mulas ha curato mostre presso Villa Pignatelli (2010), Triennale di Milano (2012), Fondation Henri Cartier Bresson (Parigi, 2016).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This week, Stauney and Sadie dive into the uncredited women who played pivotal roles during one of the biggest boys' clubs in art history: the Pre-Raphaelite Brotherhood. We'll introduce you to trailblazers like Julia Margaret Cameron, Christina Rossetti, Evelyn De Morgan, Elizabeth Siddal, Marie Spartali Stillman, and Eleanor Fortescue-Brickdale, whose influence on the movement and beyond is undeniable. Though often overshadowed by their male counterparts, these women were the true powerhouses behind the Pre-Raphaelite vision, shaping the art world in ways the "bros" could never have done alone. Learn more about your ad choices. Visit megaphone.fm/adchoices

Peter Fetterman, a renowned art dealer and photographer, joins Paris to discuss his passion for photography, his journey in the art world, and his thoughts on the evolving landscape of photography. They delve into topics such as his recent acquisitions, the significance of great talent in photography, his admiration for photographers like Sally Mann and Julia Margaret Cameron, and his belief that work should bring richness and fulfillment. Peter Fetterman's infectious enthusiasm for photography shines through as he speaks about his experiences, his love for his craft, and his commitment to promoting photography to the world. SHOW NOTES https://www.theparischongshow.com/episodes/peter-fetterman-art-photography-legacy-and-the-importance-of-passion CHAPTERS (00:00:00) Intro (00:00:45) You Got The Memo (00:05:34) Starting the Gallery (00:09:46) Art Sales and Photography (00:15:18) Ambassadors of Taste (00:19:01) Art Fairs (00:21:22) Lets Talk About The Book (00:25:46) Do You Take Photos? (00:26:57) What's Next? (00:30:00) Anyone You Want To Work With? (00:32:53) 2nd Peter Fetterman Gallery (00:33:44) Favorite City (00:34:32) Outro

‘Now You See Us: Women Artists in Britain 1520-1920' is an ambitious group show at TATE BRITAIN that charts the 400 year long journey that it took for women to become recognised as professional artists which paved the way for future generations and established what it meant to be a woman in the British art world.  On Tuesday 14 May 2024, at the Press View of the exhibition ‘Now You See Us:  Women Artists in Britain 1520-1920', RNIB Connect Radio's Toby Davey was joined by Tim Batchelor, Assistant Assistant Curator of the exhibition, to find out more about the 400 year journey that it took for women to become recognised as professional Artists along with an insight into the work of some of the 100 Women Artists featured in the exhibition. About the exhibition ‘Expressionists - Kandinsky, Münter And The Blue Rider' - The exhibition ‘Now You See Us: Women Artis in Britain 1520-1920' covers the period in which women were visibly working as professional artists, but went against societal expectations to do so. Featuring over 100 artists, the exhibition will celebrate well-known names such as Artemisia Gentileschi, Angelica Kauffman, Julia Margaret Cameron and Gwen John, alongside many others who are only now being rediscovered. Their careers were as varied as the works they produced: some prevailed over genres deemed suitable for women like watercolour landscapes and domestic scenes. Others dared to take on subjects dominated by men like battle scenes and the nude, or campaigned for equal access to training and membership of professional institutions. Tate Britain will showcase over 200 works, including oil painting, watercolour, pastel, sculpture, photography and ‘needlepainting' to tell the story of these trailblazing artists. ‘Now You See Us' begins at the Tudor court with Levina Teerlinc, many of whose miniatures will be brought together for the first time in four decades, and Esther Inglis, whose manuscripts contain Britain's earliest known self-portraits by a woman artist. The exhibition will then look to the 17th century. Focus will be given to one of art history's most celebrated women artists, Artemisia Gentileschi, who created major works in London at the court of Charles I, including the recently rediscovered Susannah and the Elders 1638-40, on loan from the Royal Collection for the very first time. The exhibition will also look to women such as Mary Beale, Joan Carlile and Maria Verelst who broke new ground as professional portrait painters in oil. In the 18th century, women artists took part in Britain's first public art exhibitions, including overlooked figures such as Katherine Read and Mary Black; the sculptor Anne Seymour Damer; and Margaret Sarah Carpenter, a leading figure in her day but little heard of now. The show will look at Angelica Kauffman and Mary Moser, the only women included among the Founder Members of the Royal Academy of Arts; it took 160 years for membership to be granted to another woman. Women artists of this era are often dismissed as amateurs pursuing ‘feminine' occupations like watercolour and flower painting, but many worked in these genres professionally: needlewoman Mary Linwood, whose gallery was a major tourist attraction; miniaturist Sarah Biffin, who painted with her mouth, having been born without arms and legs; and Augusta Withers, a botanical illustrator employed by the Horticultural Society. The Victorian period saw a vast expansion in public exhibition venues. Now You See Us will showcase major works by critically appraised artists of this period, including Elizabeth Thompson's monumental The Roll Call 1874 (Thompson's work prompted critic John Ruskin to retract his statement that “no women could paint”), and nudes by Henrietta Rae and Annie Swynnerton, which sparked both debate and celebration.  The exhibition will also look at women's connection to activism, including Florence Claxton's satirical ‘Woman's Work': A Medley 1861 which will be on public display for the first time since it was painted; and an exploration of the life of Barbara Leigh Smith Bodichon, an early member of the Society of Female Artists who is credited with the campaign for women to be admitted to the Royal Academy Schools. On show will be the student work of women finally admitted to art schools, as well as their petitions for equal access to life drawing classes. With the exhibition ending in the early 20th century with women's suffrage and the First World War. Women artists like Gwen John, Vanessa Bell and Helen Saunders played an important role in the emergence of modernism, abstraction and vorticism, but others, such as Anna Airy, who also worked as a war artist, continued to excel in conventional traditions. The final artists in the show, Laura Knight and Ethel Walker, offer powerful examples of ambitious, independent, confident professionals who achieved critical acclaim and finally membership of the Royal Academy. ‘Now You See Us - Women Artists in Britain 1520-1920' continues at TATE BRITAIN until 13  October 2024.  Description tours are available for blind and partially sighted people but need to be booked in advance via hello@tate.org.uk or on 020 7887 8888. More details about ‘Now You See Us:  Women Artists in Britain 1520 - 1920' at Tate Britain can be found by visiting the following pages of the Tate website- https://www.tate.org.uk/whats-on/tate-britain/women-artists-in-britain-1520-1920 Image shows: Gwen John, Self-Portrait, 1902. Photo Tate (Mark Heathcote and Samuel Cole), a painting of a white woman wearing a red blouse and a broach with her hair light brown tied up against a dark brown background.

Episode No. 654 features curator Karen Hellman and artist Myra Greene. With Carolyn Peter, Hellman is the curator of "Nineteenth-Century Photography Now" at the J. Paul Getty Museum, Los Angeles. The exhibition examines how many of the conventions and processes established in photography's early years remain of interest to artists working today. Historical artists within the exhibition include Anna Atkins, Gustave Le Gray, Nadar, Julia Margaret Cameron, Roger Fenton, and Carleton Watkins. The exhibition is on view through July 7. Claire L'Heureux and Antares Wells assisted the co-curators. Greene is among the 21 contemporary artists on view. Her work uses photography and textiles to explore representations of the body and race. Core to her practice is an understanding that color is materially and culturally dependent on context, and historically has been. She has had solo exhibitions at museums such as the Museum of Contemporary Art Georgia, Atlanta, the Kentucky Museum of Art and Craft, Louisville, and has been included in group exhibitions at the Spelman College Museum of Fine Art, Atlanta, the Block Museum of Art, Northwestern University, the Rose Art Museum, Brandeis University, the National Gallery of Art, Washington, and more. Ten artists in the exhibition previously have been guests on The Modern Art Notes Podcast: Andrea Chung; Liz Deschenes; Ken Gonzales-Day; An-My Lê; Lisa Oppenheim; Wendy Red Star; Mark Ruwedel; Paul Mpagi Sepuya (second visit); Stephanie Syjuco (second visit); and Carrie Mae Weems. Instagram: Myra Greene, Tyler Green.

This week, Kathryn Hughes introduces her new book on the cat craze that swept Edwardian England; and she also tells us about an exhibition of the work of Julia Margaret Cameron and Francesca Woodman. Plus a review of Sunjeev Sahota's The Spoiled Heart.'Catland: Feline Enchantment and the Making of the Modern World', by Kathryn Hughes'Portraits to Dream In', at the National Portrait Gallery, London, until 16 June, 2024'The Spoiled Heart', by Sunjeev SahotaProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Iseult Gonne is the daughter of the Irish suffragette, actress and republican who became a muse for WB Yeats. Novelist Helen Cullen has been researching her troubled life. Rochelle Rowe's research looks at women of colour who modelled for artists including Jacob Epstein and Dante Gabriel Rosetti, tracing the histories of women like Fanny Eaton and Sunita Devi. Tabitha Barber is curating an exhibition of women's art opening at Tate Britain in May. Naomi Paxton hosts a conversation about muses, women making art and carving out a public name for themselves.Victorian Radicals: From the Pre-Raphaelites to the Arts and Crafts Movement runs at Birmingham Museum and Art Gallery until 31 October From16 May, Tate Britain opens Now You See Us: Women Artists in Britain 1520 - 1920 Angelica Kauffman runs at the Royal Academy (1 March - 30 June 2024) Julia Margaret Cameron runs at the National Portrait Gallery (21 March - 16 June)You can find a collection of episodes exploring Women in the World on the Free Thinking programme website

Welcome to another Astrology Oddcast interview episode! This episode is one I recorded at the end of last year with the brilliant Julia Cameron.About Julia:Julia Cameron is a talented comedian, social media creator, DJ, presenter & voice artist. Julia's original comedy sketches have garnered millions of views online. She has a particular talent for character work & voices. As a DJ, Julia has been setting dance floors alight, most recently launching various art shows at ME hotels, curating her own successful club night Dig Deep, leading the way for brands such as Gone Rogue, the launch of the new Gilgamesh & most recently her electric residency at The Cross.As a well known voice artist, she is collaborating with talented producers & DJs such as Archie Hamilton, Jordan Peak & Soul of Zoo.As a presenter & model, Jules has recently fronted a national campaign for The Fragrance Shop amongstTakeaways (written by AI, I've amended them to make them less robotic!)Life's journey often takes unexpected turns, and what may seem like failures or setbacks can lead to new opportunities and personal growth.Twin flame relationships can be intense and transformative, but they may not always last. It's important to recognize the lessons and growth that come from these connections.Exploring alternative healing modalities, such as plant medicines, can provide new perspectives and opportunities for personal growth. Astrology plays a role in Julia's life, we discuss the significance of Saturn on her moon!!Julia is excited about her upcoming trip to South Africa and sees it as an opportunity for healing and creating new memories.Fame!Julia's numerology reveals that she is a healer and her comedy work can be seen as a form of healing.Living with her parents during a transitional period.Julia has a natural ability to manifest her desires and sets intentions without being overly methodical.Julia discusses her great great granny, Julia Margaret Cameron, who was a renowned photographer. Julia Cameron has a personal connection to Sri Lanka and her great-great-grandmother, Julia Margaret Cameron.ChaptersIntroduction and BackgroundThe Twin Flame RelationshipA Life-Changing AccidentThe Traumatic RecoveryThe Shift in EnergyThe End of a RelationshipJulia's Comedy Career TV as the Platform for Julia's ComedyAstrology and Julia's Birth ChartSaturn on Julia's MoonDealing with Saturn TransitsJulia's Trip to South AfricaJulia's Childhood and Desire for FameJulia's Numerology and HealingLiving with Parents and ChangesJulia's Manifestation ApproachJulia's Great Great Granny, Julia Margaret CameronConnection to Sri LankaJulia Cameron's Great-Great-Grandmother's Burial in Sri LankaJulia Cameron's Connection to Julia Margaret CameronPsychic Readings and Julia Margaret CameronJulia Margaret Cameron's Unconventional Lifestyle and Spiritual BeliefsPreserving Julia Margaret Cameron's LegacyJulia Margaret Cameron's Family ConnectionsJulia Cameron's Personal Connection to Julia Margaret CameronJulia Cameron's Astrological Chart and Future Success!Thanks for listening, let us know what you think!Where to Find Julia!Instagram: @thejulescameronWhere to Find Francesca!Instagram: @francescaoddieastrologyWebsite:francescaoddie.com Resources: Buy Cycles hereBuy February Cycles  workbook hereRead my blogs hereDownload the free Saturn Workbook hereJoin my Facebook Group hereSubscribe to my Substack for all the weekly astrology news and some stories from Francesca hereUse code LISTENER to get 25% off my course; Learn to Read Your Birth Chart  www.francescaoddie.com

Cette semaine dans l'Horreur du Dimanche, on parle des institutions publiques et des celles et ceux qui les maltraitent.Les films de l'épisode  :- 3'18" Exit [Rasmus Kloster Bro]- 27'33" Fragile [Jaume Balagueró]- 52'25" Los Angeles 2013 [John Carpenter]- 77'12" Vote ou Crève [Joe Dante]Et dimanche dernier alors ? (96'15") : - Thomas a vu l'exposition d'Issy Wood, A Study for No à l'espace Lafayette Anticipations- Lola recommence à dire n'importe quoi dans cette section- Léo a fait la cuisine et est allé voir Vermines de Sébastien Vaniček- Camille a vu l'exposition de Julia Margaret Cameron, Capturer la Beauté au Jeu de Paume⚠️ Attention aux spoilers ⚠️Réalisation et musique : Brice ThierionIdentité visuelle : Noah Ballul

To think that this week's Work of the Week is 157 years old wouldn't normally be a fact we'd labour. Many artworks in the Crawford Gallery Collection are that and older. But when you hear it's a PHOTOGRAPH, well you just have to look! And hear Michael Waldron tell Conor Tallon all about it! Hosted on Acast. See acast.com/privacy for more information.

durée : 00:19:51 - France Culture va plus loin le samedi - par : Quentin Lafay - La Britannique de la seconde moitié du 19e siècle Julia Margaret Cameron a joué un rôle avant-gardiste dans la photographie. Flou, portrait, mise en scène et rapport à la littérature : se pencher sur son travail, c'est se pencher sur l'histoire de la photo d'art. - invités : Hélène Orain Docteure en histoire de l'art, spécialisée en photographie; Quentin Bajac Directeur du Jeu de Paume, anvien directeur du département photographie du MoMa

Julia Margaret CameronCapturer la beautéau Jeu de Paume, Parisdu 10 octobre 2023 au 28 janvier 2024https://francefineart.com/https://francefineart.com/2023/10/24/3492_julia-margaret-cameron_jeu-de-paume/communiqué de presseCommissaires :Lisa Springer et Quentin Bajac, commissaire associé pour l'étape parisienne.Le Jeu de Paume rend hommage à Julia Margaret Cameron (1815-1879), pionnière du portrait photographique, à travers une exposition présentée du 10 octobre 2023 au 28 janvier 2024.Première rétrospective de cette ampleur qui lui est consacrée en France depuis 40 ans, « Julia Margaret Cameron. Capturer la beauté » dévoile une centaine de photographies, de ses premières expérimentations aux compositions historiques, littéraires ou allégoriques figuratives, en passant par une impressionnante galerie de portraits de ses contemporains. Son approche, très personnelle et si décriée en son temps, de la technique photographique, du flou aux erreurs diverses, s'est affirmée comme la marque d'un style précurseur, intégrant de manière novatrice l'imperfection et l'accident. Originale et hors du temps, l'oeuvre, réalisée en à peine une décennie, entre 1864 et 1875, représente une des plus belles illustrations du souffle épique des débuts de la photographie.L'exposition, produite par le Victoria and Albert Museum, est majoritairement constituée d'oeuvres de l'artiste issues des collections du musée britannique. Pour l'étape parisienne de cette exposition, la seule en Europe, elle bénéficie de prêts exceptionnels de la Bibliothèque nationale de France (BnF), du musée d'Orsay et de la Maison Victor Hugo.#ExpoJuliaMargaretCameronJulia Margaret Pattle naît à Calcutta en Inde d'une mère française et d'un père employé de la Compagnie britannique des Indes orientales. En 1838, elle épouse Charles Hay Cameron, juriste de vingt ans son aîné. Le couple s'établit à Ceylan (aujourd'hui Sri Lanka) où son mari fait l'acquisition de plantations de café. En 1848, toute la famille s'établit en Angleterre lorsque Charles prend sa retraite et Julia Margaret Cameron, déjà mère de quatre enfants, donne naissance à deux autres garçons.Grâce à l'une de ses soeurs, Cameron rencontre poètes, peintres et écrivains qui participent à l'histoire culturelle et artistique de l'Angleterre victorienne. En 1859, les Cameron achètent deux cottages sur l'île de Wight ayant pour voisin et ami proche le poète victorien lord Alfred Tennyson. Si Cameron montre un intérêt pour la photographie au fil de sa vie, elle se lance avec passion le jour de ses 48 ans, lorsque sa fille aînée lui offre son premier appareil photo : une véritable carrière de photographe s'ouvre alors. Entre 1864 et 1875, elle produit plus de mille photographies, expose au niveau international, publie un livre et écrit une autobiographie qu'elle laisse inachevée, publiée à titre posthume.Dans une scénographie jouant sur les effets de reflets imparfaits, écho lointain du flou cher à Julia Margaret Cameron, l'exposition du Jeu de Paume, conçue en trois parties, révèle l'ampleur et l'ambition d'une artiste qui a légué une oeuvre parmi les plus remarquables de l'histoire de la photographie. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Danell Jones discusses with Ivan six things which should be better known. Danell Jones is a writer with a PhD in literature from Columbia University. She is the author of The Virginia Woolf Writers Workshop; the poetry collection Desert Elegy; and An African in Imperial London, which won the High Plains Book Award for Nonfiction. Her newest book is The Girl Prince: Virginia Woolf, Race, and the Dreadnought Hoax. Julia Margaret Cameron's Photographs of Alamayou, Prince of Abyssinia https://collections.vam.ac.uk/item/O1394113/d%C3%A8jatch-al%C3%A1mayou--b%C3%A1sha-f%C3%A9lika-photograph-cameron-julia-margaret/ Britons Through Negro Spectacles, by A.B.C. Merriman-Labor https://www.penguin.co.uk/books/447069/britons-through-negro-spectacles-by-merriman-labor-abc/9780241559741 Public libraries https://www.neh.gov/article/complicated-role-modern-public-library Sophie Stone performing All the World's A Stage https://www.youtube.com/watch?v=NbIOZZy54EM California Highway 395 https://californiathroughmylens.com/highway-395-roadtrip/ London Calling by Una Marson https://www.youtube.com/watch?v=b6xyJxC_yl4 This podcast is powered by ZenCast.fm

Emma and Christy look at Julia Margaret Cameron's photograph 'Maud' (c. 1874) and discuss plant consciousness, agency, and erotics. In this episode, we cover tendrils and tentacles, Victorian queerness, plant horror, early ecologies, Darwin and plant sex, interspecies entanglements, photography and desire, colonial botany, tipitiwitchets, sadomasochism, and whether your houseplant can kill you. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED Julia Margaret Cameron, Maud (c. 1874) Bernini, Apollo and Daphne (1622–25); see also this detail from Rape of Proserpina (1621–22) Julia Margaret Cameron, Illustrations to Tennyson's ‘Idylls of the King', and Other Poems (London: King, 1874–75) Alfred Tennyson, ‘Maud', excerpted by hand by Julia Margaret Cameron (1874–75) Julia Margaret Cameron, Pomona [Alice Liddell](1872) Anna Atkins, cyanotype from Photographs of British Algae (c. 1843–53) Earlier Julia Margaret Cameron illustration of Maud: The Passion Flower at the Gate (c. 1865) Julia Margaret Cameron, Charles Darwin (1868) Charles Darwin, ‘Diagram showing the movement of the upper internodes of the common Pea, traced on a hemispherical glass and transferred to paper' (1867) Hokusai, The Dream of the Fisherman's Wife (1814) Illustration from H. G. Wells's The Flowering of the Strange Orchid (1894) CREDITS This season of ‘Drawing Blood' was funded in part by the Association for Art History. Follow our Twitter @drawingblood_ ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

Alex travelled all the way to the Isle of Wight to join the charming Dr Brian Hinton at Dimbola Museum and Galleries. Brian and Alex discuss the works of Julia Margaret Cameron, the restoration and preservation of Dimbola and Farringford, and the Pre-Raphaelite connections to the Isle of Wight. Please excuse the audio quality in small parts of this episode, we have done our best to tidy it up. To find out more about Farringford and Dimbola, please see the websites below: https://farringford.co.uk/ https://www.dimbola.co.uk/   For more information and to subscribe to the Pre-Raphaelite Society, please visit www.pre-raphaelitesociety.org    All donations towards the maintenance of this podcast are gratefully received: https://gofund.me/60a58f68     

Please note this episode includes discussion of many difficult topics - Domestic violence and violence against women, eating disorders and body dysmorphia, abortion, panic attacks. Please go carefully! This episode is an interview with feminist photographer Fanny Beckman. We discuss her recent creative projects as well as bringing her feminist lens to commercial work. Fanny talks about creating a comfortable environment on set, challenging the male gaze and looking after herself as an activist. You can find Fanny's work here - https://www.fannybeckman.com/The Open Eye Gallery in Liverpool - https://openeye.org.uk/Recommendations from this episode - Julia Margaret Cameron's house on the Isle of Wight Dimbola – The home of Julia Margaret CameronLee Miller's house in Sussex https://www.farleyshouseandgallery.co.uk/ Hosted on Acast. See acast.com/privacy for more information.

Women photographers take center stage in this week's show, in celebration of International Women's Day and Women's History Month. We reveal the blind spot of photo history in a chat about the book A World History of Women Photographers, with photo historian and co-author Luce Lebart and contributing writer Pauline Vermare. Gracing the pages of this book's 500-page heft are images and stories behind 300 women photographers, spanning both photo history and geographic reach. Listen in to learn about the exhaustive process Lebart and co-author Marie Robert undertook to find this range of talent and then commission essays from 160 women writers and curators. We also discuss how the position of women within photography has changed over time and across cultures. There are fresh discoveries to be made by even the most ardent photography devotees, as illustrated by the many photographer names and related resources we mention during the episode, also listed below in our show notes.  Guests: Luce Lebart and Pauline Vermare Top shot © The National Museum of Iceland, Reykjavik Episode Timeline   4:17: Luce Lebart describes the editorial statement behind the book A World History of Women Photographers as a manifesto to complete a history that already exists.   10:14: Back stories about women working as picture editors, art directors, designers, and art buyers in photo industry trenches, with male photographers as hunter gathers in the field.  13:32: The international network behind the research for this book. Which came first—the contributing writers or featured photographers?   21:21: The matter of women photographers who stayed in the shadow of a master or did not receive equal recognition as her spouse.   26:45: Avoiding the pitfall of a western centered approach in the geographical representation of photographers selected for the book   30:56: Additional book projects and databases of women photographers.   33:44: Episode break   34:38: Pauline Vermare describes differences between France and America in their respective approaches to photography.   38:36: Pauline discusses the Japanese women photographers she wrote about for the book.   45:00: American photographer Nancy Burson's stature as a forerunner of current trends for AI generated photographs. 49:40: How A World History of Women Photographers encourages questions of readers, inspiring Pauline to create a forthcoming book on Japanese women photographers. Guest Bios: Luce Lebart is co-author, with Marie Robert, of A World History of Women Photographers. A photography historian and curator currently based in Paris, she is a researcher for the Archive of Modern Conflict, a collection and publishing house based between London and Toronto. Luce served as director of the Canadian Institute of Photography from 2016 to 2018, after spending five years directing the collections of the French Society of Photography in Paris. Pauline Vermare is a French photography curator and historian based in New York. A contributing writer to A World History of Women Photographers, she was formerly the cultural director of Magnum Photos in New York, a curator at the International Center of Photography and the Museum of Modern Art. From 2002 to 2009, she worked at the Henri Cartier-Bresson Foundation, in Paris.  Stay Connected: A World History of Women Photographers English language edition: https://www.thamesandhudsonusa.com/books/a-world-history-of-women-photographers-hardcover A World History of Women Photographers French edition: https://www.editionstextuel.com/livre/une-histoire-mondiale-des-femmes-photographes Luce Lebart Website: https://lucelebart.org/ Luce Lebart Facebook: ? Luce Lebart Instagram: https://www.instagram.com/lucelebart Luce Lebart Twitter: https://twitter.com/lucelebart?lang=en Mauvaises Herbes (Weeds) exhibit: https://www.cpif.net/ Photo Europea Photo Festival: https://www.fotografiaeuropea.it/fe2023/en/concept-2023/ Pauline Vermare curated Kunie Sugiura Exhibit at Alison Bradley Projects: https://www.alisonbradleyprojects.com/kunie-sugiura-show/ Recently curated exhibition of Northern Ireland photos by women photographers: https://photomuseumireland.ie/pauline-vermare-protest Co-curated exhibition of 10 contemporary Japanese women photographers: https://matterport.com/discover/space/LQT8wCUrWuE Recent interview on Pauline's Japanese women photographers project: https://www.truthinphotography.org/japanese-women-photographers.html Women Photographers mentioned in the podcast: Anna Atkins - United Kingdom, 1799 - 1871 Amilie Guillot-Saguez -1810, France – 1864, Algeria Constance Talbot - United Kingdom, 1811 - 1880 Julia Margaret Cameron - 1815, India – 1879, Sri Lanka Alice Seeley Harris – United Kingdom, 1870 - 1970 Clara Sipprell - 1885, Canada – 1975, United States Tsuneko Sasamoto – Japan, b. 1914 Tokyo Tokiwa – Japan, b. 1930 Claudia Andujar - Switzerland, b. 1931 Yildiz Moran - Turkey, 1932 - 1995 Sara Facio - Argentina, b. 1932 Hilla Becher - Germany, 1934 - 2015 Abigail Heyman - United States, 1942 – 2013 Nancy Burson - United States, b. 1948 Lesley Lawson – South Africa, b. 1952 Marilyn Nance - United States, b. 1953 Pushpamela N. - India, b. 1956 Pior Arke - Greenland, 1958 - 2007 Angele Etourdi Essamba - Cameroon, b. 1962 Dina Templeton - United States, b. 1969 Zanele Muholi – South Africa, b. 1972  Databases featuring Women Photographers: WOPHA, Women Photographers International Archive: https://wopha.org/ Women Photograph database (and new book): https://www.womenphotograph.com/ 10x10 Photobooks: https://10x10photobooks.org/ Fast Forward: https://fastforward.photography/

Julia Margaret Cameron (1815-1879) was one of the most important portrait photographers of the 19th century. She received her first camera when she was 48 years old, and spent the next decade of her life feverishly producing dreamy portraits.Special thanks to Mercedes-Benz, our exclusive sponsor this month! From their early days, Mercedes-Benz has built a legacy championing women to achieve the unexpected. Join us all month long as we celebrate women who have led dynamic lives that have shifted, evolved and bloomed, often later in life, eventually achieving the success for which they were destined from the start. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Ale Tejeda, Sara Schleede, and Alex Jhamb Burns. Special thanks to Shira Atkins. Original theme music composed by Miles Moran.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitter

“I longed to arrest all beauty that came before me.”  Julia Margaret Cameron Photographer   The artwork: Ink  drawing on a map of the Island of Wight, UK, based on a self portrait by Julia Cameron. Her home in Freshwater is located on the left side, above her head.   The story: Julia Cameron began career as a photographer relatively late at the age of 48, when she was given her first camera. A present from her daughter, the camera was meant to be a source of entertainment for Cameron at her UK home on the Isle of Wight while her husband tended to his coffee plantations in Sri Lanka. “It may amuse you, Mother, to try to photograph during your solitude,” said her daughter.  Cameron took to photography with gusto, learning her craft and focusing on making portraits in her studio converted from a chicken coop.  “Many and many a week in the year 1864, I worked fruitlessly, but not hopelessly… I began with no knowledge of the art. 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,” she said of her photographic beginnings.  However, she did not stay “fruitless” for long and she quickly came to see her camera as, “A living thing, with voice, memory, and a creative vigor.”  Within a year, she was a member of the Photographic Societies of London and Scotland. She developed a unique style, characterized by close-cropped intimate portraits that were often deliberately slightly out of focus or blurred by her subjects moving during long exposures.  Highly unconventional for her day, her style was heavily criticized by the photography establishment during her lifetime for her supposedly poor technique. She is now recognized as one of Britain's greatest portrait photographers of the 19th century and credited with creating the first close-up portraits in the history of the medium. Cameron dismissed the carping by her peers of her soft focus work, saying,  “What is focus and who has the right to say what focus is the legitimate focus?” Cameron's photography career was short but productive. She made around 900 photographs over a 12-year period, registering each of them with the copyright office. Her subjects included luminaries from the London cultural scene, including Alfred Lord Tennyson, Robert Browning, Henry Wadsworth Longfellow, and Charles Darwin.  While her photos of eminent Victorian men featured strong contrasts in light and shadow (chiaroscuro) resulting in powerful images, her portraits of women are noted for their particularly sensitive and often delicate renderings of female beauty.   Describing her photography career, Cameron said, “I longed to arrest all the beauty that came before me and at length the longing has been satisfied. Its difficulty enhanced the value of the pursuit.”   Background on Cameron: The daughter of an East India Company official, Cameron was born in India on June 11, 1815. She was educated with relatives in France and then she returned to India after completing her schooling. She met her husband, Charles Hay Cameron, while both of them were convalescing, likely from malaria. They married in Kolkata, two years after meeting.  Her photography was actively supported by her husband and she eagerly showed him every photograph she made:  “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. This habit of running into the dining-room with my wet pictures has stained such an immense quantity of table linen with nitrate of silver, indelible stains, that I should have been banished from any less indulgent household,” she said. By all accounts, the Camerons were a happy couple, devoted to each other. They raised 11 children together, six of their own and five orphans they adopted. They moved to London in the 1840s and were an active part of the social and cultural scene. After visiting Tennyson's home on the Isle of Wight, Cameron was taken with the location and they bought their own home on the island, calling it Dimbola Lodge.  She died on January 26, 1879 in Kalutara, Sri Lanka, where her husband held coffee plantations.    Music: This episode contains music by Geovane Bruno and Michael Kobrin.   Sources: Cameron, J. M. (2016, February 15). 11 Quotes By Photographer Julia Margaret Cameron. John Paul Caponigro. https://www.johnpaulcaponigro.com/blog/16476/11-quotes-by-photographer-julia-margaret-cameron/  Encyclopedia Britannica. (n.d.). Julia Margaret Cameron | British photographer. https://www.britannica.com/biography/Julia-Margaret-Cameron  Photogpedia. (2021, March 21). 25 Timeless Julia Margaret Cameron Quotes to Bookmark. https://photogpedia.com/julia-margaret-cameron-quotes/ Wikipedia contributors. (2021, November 7). Julia Margaret Cameron. Wikipedia. https://en.wikipedia.org/wiki/Julia_Margaret_Cameron

Julia Margaret Cameron est très connue pour ses portraits de célébrités !Cliquez ici pour voir la photographieAuteure des textes : Anne SchmauchDirection Editoriale: Pénélope BoeufVoix : Pénélope BoeufProduction : La Toile Sur Écoute Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Episode No. 519 features author Gabrielle Selz and curator Malcolm Daniel. Selz is the author of the new biography "Light on Fire: The Art and Life of Sam Francis." The book tells the story of Francis' wild, often tumultuous, multi-continental life -- Selz was a California native who was always more interested in Europe and Asia than he was in New York -- and details the making of his work, its global reception, and his efforts to help found art museums, such as the Museum of Contemporary Art, Los Angeles. The book was published by University of California Press. Indiebound and Amazon offer it for about $35. On the second segment, Daniel discusses the Museum of Fine Arts, Houston's acquisition of a major Julia Margaret Cameron album. The album, known as The Norman Album because it remained in the family of Cameron's daughter Julia Hay Norman until it was acquired by the MFAH, includes over 70 prints, including Cameron's famed portraits of Alfred Lord Tennyson, Thomas Carlyle, Charles Darwin, John Herschel and others. Cameron's daughter introduced her to photography; Cameron gave her the album as thanks.

Julia Margaret Cameron ist die vielleicht berühmteste Fotografin des viktorianischen Zeitalters. Sie war erst im Alter von 48 zur Fotografie gekommen und erlangte innerhalb von 16 Jahren durch ihren einzigartigen Bildstil Berühmtheit.

We are very excited to announce this special bonus episode of A Life in Art, in which William Dalrymple is interviewed by the legendary photographer Steve McCurry. The pair discuss a wide range of subjects, from their first visits India, how they met, to their work in Afghanistan and the photography of Julia Margaret Cameron. Steve also selects his favourite images from William's exhibition, which is on display at the gallery until the 30th July 2021. A recording of the zoom interview between Steve and William, can be seen on our Instagram account: @grosvenorgallery, as well as on our website: www.grosvenorgallery.com Throughout his career, McCurry has produced some of the most recognisable and iconic photographs of recent times. His work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element that made his celebrated image of the Afghan Girl such a powerful image. In 2004, McCurry founded ImagineAsia, a non-profit organisation to help provide educational resources and opportunities to children and young adults in Afghanistan.The Traveller's Eye is a visual diary of black and white photographs, shot over the last couple of years by William Dalrymple during his travels and research for his two books ‘The Anarchy' and his upcoming book ‘The Golden Road'. William has followed the footsteps of the central characters in his books which has led him to travel extensively throughout the Indian subcontinent and modern-day Pakistan, Afghanistan and down to Sri Lanka, locations of many of the images in the exhibition."I've been visiting all the places where this history took place – the battlefields and ruins, the mosques, Sufi shrines and temples, the paradise gardens and pleasure grounds, the barrack blocks and townhouses, the crumbling Mughal havelis and the palaces and forts."The Traveller's Eye: Photographs by William Dalrymple, runs at the gallery from the 1st - 30th July 2021. To purchase works from the show please visit our website, or look at our store on Instagram: @grosvenorgallery @alifeinartWe hope you enjoy this episode. Please like, review and share wherever you listen to your podcasts.

Charlie Drinkwater is an art director who has collaborated with the likes of Fontaines D.C, Sigrid and Sports Team amongst many more. From 2014 - 2019 he was the resident art director of Island Records. He is the vocalist in English post-punk outfit, TV Priest. We talk thinking creatively, studying at Art College, drawing, Julia Margaret Cameron, collage, musical vs design ideas, being present in the moment, working from home, Elon Musk, Island Records, work culture, seeing your art in different settings, gratitude and continuing to learn new skills. Theme Music: "Breakfast Burger" by Snack Villain See acast.com/privacy for privacy and opt-out information.

 On this episode we’re fluttering back to the 1860s to tell you all about Julia Margaret Cameron and her weird and ethereal photos . We’ll be talking to photographer and model Sarah Jean Achor (@sarahjeanachor on Insta). We’ve also got zine reviews and the answering machine.  Sarah Jean Achor On this episode, we’ll be giving a call to Sarah Jean Achor (@sarahjeanachor on Insta), a film and instant photographer from Columbus, Ohio. The photos she’s taken, as well as the photos taken of her play off each other in ghostly and dramatic ways. Here are a few of her photos:    Julia Margaret Cameron Julia Margaret Camerion is remembered for her theatrical and soft focus portraits depicting emotions, allegories, and biblical myths. Her photographs, taken in the 1860s and 70s, were staged more like paintings done by Rembrant and Raphael. Her work was loved by the artists and poets, but ridiculed by most other photographers. Over the course of a dozen years, Mrs. Cameron produced more than 900 finished photographs.  Mrs. Cameron’s work was not only influenced by the Victorian era, steeped in legend and stories. But it was also a rebellion against the social norms and expectations put upon her. Here are some of the photos we talked about during the episode:  We referenced Dorthea Lange's Migrant Mother photo looking very similar to Mrs. Cameron's Madonna Pensarosa. https://www.theartstory.org/artist/cameron-julia-margaret/artworks/.https://www.getty.edu/art/collection/artists/1990/julia-margaret-cameron-british-born-india-1815-1879/PDF of the Complete Works of Julia Margaret Cameron:https://www.getty.edu/publications/virtuallibrary/0892366818.html Zine Reviews  We essentially reviewed three zines this episode: Twin Lens Challenge - https://www.danielnovakphoto.com/zines The Bulldozed Future - https://longdistancerunner.org/ Initial Frames - https://www.mynameismwd.org/   PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens Our featured Patron for this episode is Michael Dales @mdales END CREDITS Music by Last Regiment of Syncopated Drummers Vania: IG, Flickr, ZinesEric: IG, Flickr, Zines, ECN-2 Kits All Through a Lens: IG, Website, Patreon    

Julia Margaret Cameron è la prima 'fotografa' della storia, che non solo ha aperto la strada alle future fotografe che verranno ma che ha significativamente contribuito alla sua evoluzioneA link le fotografie citate durante la puntatahttps://raccontidiluce.wixsite.com/podcast/post/ep01-julia-margaret-cameron

On today's episode W. Scott Olsen is talking to Sharon Williams.Sharon picked up her camera for the first time a few years ago, she jokingly likens herself to the pioneering 19th century photographer, Julia Margaret Cameron, who started her photography career in her 40’s. Having studied art at school, Sharon has an appreciation of form, colour, texture and composition and uses this with her unique interpretation of the subject to create images that are often described as sensitive and emotive. This podcast is brought to you by FRAMES - high quality quarterly printed photography magazine.Click here to find out more about FRAMES Magazine and join our community.

In dieser Episode von FotoFemme erzähle ich euch etwas über die geschichtlichen Hintergründe der Fotografie. Es geht um die weiblichen Vertreterinnen ab der Entstehung der ersten Fotografie bis nach dem zweiten Weltkrieg. Es werden drei Beispiele für weibliche Pionier*innen der Fotografie erläutert und neben ihren Arbeiten, die persönlichen Lebenshintergründe von mir kommentiert. Namen und Empfehlungen für diese Episode - Fotografinnen: Sarah Anne Bright, Julia Margaret Cameron, Dora Kallmus (Madame d`Ora) Namen der Magnum Photo Gründungsmitglieder: Maria Eisner, Rita Vandivert Bücher: "Meisterinnen des Lichts" von Friedewald, Boris & "Frauen sehen Frauen" von Schirmer/Mosel München Titelbild: © Madame D'Ora (Dora Kallmus) Quelle des Titelbilds: https://www.vogue.de/mode/artikel/madame-dora, Vogue Deutschland

In this episode, I discuss the story behind a famous 1866 photograph by pioneering British photographer Julia Margaret Cameron. We know what camera and lens Cameron used to shoot the glass plate negative, but the captivating model Ms. Keene is an enigma -- almost nothing is known about her. Credits and useful links: The specific print I discuss is this one in the collection of the The Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/268697 Victoria and Albert https://www.vam.ac.uk/collections/julia-margaret-cameron New York Times article https://www.nytimes.com/2013/08/23/arts/design/julia-margaret-cameron-at-the-metropolitan-museum-of-art.html?_r=0 Another photograph of Ms. Keene on Artsy https://www.artsy.net/artwork/julia-margaret-cameron-mrs-keene A range of Cameron's work at The Met https://www.metmuseum.org/toah/hd/camr/hd_camr.htm --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/keith-dotson/support

In this episode, I discuss the story behind a famous 1866 photograph by pioneering British photographer Julia Margaret Cameron. We know what camera and lens Cameron used to shoot the glass plate negative, but the captivating model Ms. Keene is an enigma -- almost nothing is known about her. Credits and useful links: The specific print I discuss is this one in the collection of the The Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/268697 Victoria and Albert https://www.vam.ac.uk/collections/julia-margaret-cameron New York Times article https://www.nytimes.com/2013/08/23/arts/design/julia-margaret-cameron-at-the-metropolitan-museum-of-art.html?_r=0 Another photograph of Ms. Keene on Artsy https://www.artsy.net/artwork/julia-margaret-cameron-mrs-keene A range of Cameron's work at The Met https://www.metmuseum.org/toah/hd/camr/hd_camr.htm --- Support this podcast: https://anchor.fm/keith-dotson/support

19th century photographer Julia Margaret Cameron; through the lens of her camera and cumbersome wet collodion process, Cameron reveals the beauty, intelligence and spirit of her sitters. We will look closely at the image "Cassiopeia," from 1864. I also highlight the contemporary photographer Zach Rubin from Z Rubin Photo. Follow links below to learn more.The Metropolitan Museum of Art: www.themetmuseum.org and Victoria and Albert Museum www.vam.ac.uk and Zach Rubin Photo at https://zrubinphoto.myportfolio.com or @zrubinphoto on Instagram.

19th century photographer Julia Margaret Cameron; through the lens of her camera and cumbersome wet collodion process, Cameron reveals the beauty, intelligence and spirit of her sitters. We will look closely at the image "Cassiopeia," from 1864. I also highlight the contemporary photographer Zach Rubin from Z Rubin Photo. Follow links below to learn more.The Metropolitan Museum of Art: www.themetmuseum.org and Victoria and Albert Museum www.vam.ac.uk and Zach Rubin Photo at https://zrubinphoto.myportfolio.com or @zrubinphoto on Instagram.

Uma pintora neoclássica e uma das primeiras fotógrafas: o que os retratos que elas faziam contam sobre cada época, com uma ajudinha da pensadora Susan Sontag. fale comigo: escreva@alinevalek.com.br apoie meu trabalho: apoio.alinevalek.com.br compre meus livros: loja.alinevalek.com.br Leitura Complementar “Sobre a fotografia”, livro de Susan Sontag https://amzn.to/2MJC3ez “The Smile Revolution in Eighteenth Century Paris”, livro de Colin Jones https://amzn.to/2MJC9CX “A brief story of the smile”, de Angus Trumble https://amzn.to/2OLaapi Mais sobre a história do sorriso neste podcast da NPR com o autor Angus Trumble https://www.npr.org/templates/story/story.php?storyId=1607671 Por que pessoas nunca sorriam em fotos antigos, vídeo da Vox https://www.youtube.com/watch?v=ocUNn6KUN6k Sobre a carreira de Elisabeth-Louise Vigée Le Brun: http://www.arteeblog.com/2015/12/elisabeth-vigee-le-brun-uma-artista.html Mais sobre a polêmica dos autorretratos da Madame Le Brun: https://www.artsy.net/article/artsy-editorial-elisabeth-louise-vigee-le-brun-scandalized-18th-century-paris-art-smile Como eram as sessões de fotos da Julia Margaret Cameron https://www.metmuseum.org/toah/hd/camr/hd_camr.htm Artigo no The Guardian sobre a fotografia de Julia Margaret Cameron: https://www.theguardian.com/artanddesign/2015/sep/22/julia-margaret-cameron-victorian-portrait-photographer-exhibitions Como fazer um cianótipo: https://vergotti.art.br/2017/02/kit-de-cianotipia/ * os links para os livros são patrocinados. Significa que, se você comprar os livros por meio desses links, ajuda este podcast a se manter. Obrigada!

We’re back! It has been a busy few weeks over here and the podcast, unfortunately, has taken a bit of a back seat. I’m on it, though, and normal service is resumed. If not a little rusty!So welcome, to Outerfocus 49 with Ashly Stohl.Ashly is a photographer from LA and co-founder or Peanut Press, (along with previous guest, David Carol).She was a finalist in the 11th Julia Margaret Cameron awards, has work held in collections at the International Centre of Photography and..........Full show notes at - www.outerfocuspodcast.com Support the show (https://www.patreon.com/outerfocuspodcast)

Photographer Julia Margaret Cameron   Want answers? Send your questions, comments and thoughts about life to universe@thelinlife.com   Thank you so much for listening to The Lin Life Universe. I hope you've been enjoying it. Please leave a review! 

Ken Merfeld owns and operates a commercial / fine art photography studio where he photographs fashion, advertising, portrait, and celebrity assignments.  His work has appeared in Vogue, Harper’s Bazaar, Mademoiselle, Angelino, Zoom, Black and White, and Los Angeles magazines. Prior to his work in the world of Wet-Plate Collodion, Ken has worked on a personal portrait project (traditional silver prints) for more than 20 years which includes: dancers, bikers, people with their pets, autistic children, “little people”, transvestites, identical twins, women wearing masks. In response to the rapidly moving electronic image world, as well as his inherent desire to keep his traditional darkroom alive, Merfeld has chosen to embrace the ultimate, historical, hands-on technique of Wet-Plate Collodion (originally known as the “Black Art”) from the 1860’s.  Influenced by the 19th. Century portraits of Julia Margaret Cameron, whereby a single defining exposure is made on a piece of glass and processed immediately, Ken has re-defined his continuing world of emotional portraiture. Merfeld teaches photography part time at Art Center College of Design in Pasadena, Ca., does seminars for Julia Dean Photography Workshops in Venice Beach, Ca., and conducts Portrait Seminars out of his studio in Culver City four times a year.  Ken also has a portfolio critique/review (see “Photo Soup”) service by appointment, also operated from his studio. So he won’t go absolutely crazy thinking, creating, looking at, and discussing visuals, Ken also plays an expert game of Pétanque, loves to play Djembe drums, and aspires to learn to play a blues harmonica one day.   Photographer Links:    Education Resources:   Candid Frame Resources   Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .  

Garden journal - two columns Failures and Successes   we learn equally from both     Brevities #OTD NATIONAL CORN ON THE COB DAY – June 11 Corn is called maize by most countries, this comes from the Spanish word ‘maiz’. Corn is a cereal crop that is part of the grass family. An ear or cob of corn is actually part of the flower and an individual kernel is a seed. On average an ear of corn has 800 kernels in 16 rows. Corn will always have an even number of rows on each cob. A bushel is a unit of measure for volumes of dry commodities such as shelled corn kernels. 1 Bushel of corn is equal to 8 gallons. With the exception of Antarctica, corn is produced on every continent in the world. There are over 3,500 different uses for corn products. As well as being eaten by the cob, corn is also processed and used as a major component in many food items like cereals, peanut butter, potato chips, soups, marshmallows, ice cream, baby food, cooking oil, margarine, mayonnaise, salad dressing, and chewing gum. Juices and soft drinks like Coca-Cola and Pepsi contain corn sweeteners. A bushel of corn can sweeten 400 cans of soft drink. Corn and its by products are also found in many non-food items such as fireworks, rust preventatives, glue, paint, dyes, laundry detergent, soap, aspirin, antibiotics, paint, shoe polish, ink, cosmetics, the manufacturing of photographic film, and in the production of plastics. Corn is also used as feeding fodder for livestock and poultry and found in domestic pet food. As of 2012, the United States produces 40% of the worlds total harvest making it the biggest maize producer in the world (273,832,130 tonnes produced in 2012). An area termed the "Corn Belt" in the US where growing conditions are ideal includes the states of Iowa, Illinois, Nebraska, Minnesota, Indiana, Ohio, Wisconsin, South Dakota, Michigan, Missouri, Kansas and Kentucky. In the days of the early settlers to North America corn was so valuable that it was used as money and traded for other products such as meat and furs. Corn is now a completely domesticated plant so you're unlikely to find it growing in the wild. Corn can be produced in various colors including blackish, bluish-gray, purple, green, red, white and the most common yellow.         #OTD John Constable, RA(/ˈkʌnstəbəl, ˈkɒn-/;[1]11 June 1776 – 31 March 1837) was an English landscape painter in the naturalistic tradition. Born in Suffolk, he is known principally for his landscape paintingsof Dedham Vale, the area surrounding his home – now known as "Constable Country" – which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".[2 I see the elder is coming into flower. Reminds me of John Constable's oil sketch at Hampstead. c.1821-2  Private  collection.      Study of the Trunk of an Elm Tree   - by John Constable (RA), c1821       Golding Constable's Kitchen Garden, 1815    Golding Constable's Flower Garden, 1815    He considered spring and midsummer as the stirring times for the landscape painter, and not autumn. In his opinion an old tree, half decayed and almost leafless, presented no fitter subject to the painter than an emaciated old man.. .Constable was the first, I believe, in this country who ceased to paint grass yellow ocher, although it appears to me that we are now [1850-60's] in the other extreme. For by the non-employment of yellow, green pictures show a want of sunlight, and allowance is not made for the yellow of the frame, especially at the edge of the picture; still Constable is entitled to great praise for having brought the art back to a truer standard. Green is the colour for trees, and the midsummer shoot gives the green in its greatest variety. pp. 80-81 Nature is the fountain's head, the source from whence all originality must spring. Landscape is my mistress - 'tis to her I look for fame. I never saw an ugly thing in my life: for let the form of an object be what it may, - light, shade, and perspective will always make it beautiful.   When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture. As quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40 But the sound of water escaping from mill-dams, &c., willows, old rotten planks, slimy posts, and brickwork, I love such things. Shakespeare could make everything poetical; he tells us of poor Tom's haunts among "sheep cotes and mills." As long as I do paint, I shall never cease to paint such places. They have always been my delight. Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78 The world is wide; no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of the world. Quoted in C.R. Leslie, Memoirs of the Life of John Constable, Composed Chiefly of His Letters(1843) (Phaidon, London, 1951) p. 273 England, with her climate of more than vernal freshness, and in whose summer skies, and rich autumnal clouds, the observer of Nature may daily watch her endless varieties of effect.. ..to one brief moment caught [by the artist] from fleeting time.. Quote from Constable's Introduction of the 1833 edition of English landscape scenery, as cited in Constable's English Landscape Scenery, Andrew Wilton, British Museum Prints and Drawings Series, 1979; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 368 A self-taught painter is one taught by a very ignorant person. Quoted in The Quarterly Review vol. 119 (1866), p. 292.   #OTD  Julia Margaret Cameron, the mother of photography, was born on this day in Calcutta in 1815.    In 1863, Cameron was given a camera by her daughter and son-in-law and made her first photograph at the age of 49.   Her niece, Virginia Woolf wrote, that the camera was,   “at last, an outlet for the energies that she had dissipated in poetry and fiction, in doing up houses, in concocting curries, and entertaining her friends."   At the time, Cameron had moved to the Isle of Wight; an island off the southern coast of England.   On the Isle of Wight, Julia Margaret Cameron converted henhouse in her garden into her darkroom and another building into her studio.   One of her most famous photos is called The Rosebud Garden of Girls, a title taken from Tennyson’s Come Into the Garden, Maude.  The photo wastaken in June, 1868. It shows four beautiful young Victorian women wearing the white robes you'd find on a Greek goddess. The setting is a lush garden. Their hair flows freely down past their shoulders, they each hold  blossom, as they each cast their gaze far off in slightly different directions. It’s a very dreamy, almost trance-like, innocent image; The Rosebud Garden of Girls.         Unearthed Words "So sweet, so sweet the roses in their blowing, So sweet the daffodils, so fair to see; So blithe and gay the humming-bird a going From flower to flower, a-hunting with the bee." -  Nora Perry, In June   "It is dry, hazy June weather.  We are more of the earth, farther from heaven these days." -  Henry David Thoreau   "In a bowl to sea went wise men three,  On a brilliant night of June:  They carried a net, and their hearts were set  On fishing up the moon."  -  Thomas Love Peacock     The AHS A-Z Encyclopedia of Garden Plants by Christopher Brickell As chamomile is one of my favorite aromatic plants to have in my garden every year i save all the flowers from the last flowering plant to store and replant next growing season.Saving my herb seeds is one of the most rewarding gardening tasks Chamomile grows in the form of small shrub that usually reaches 8 to 12 inches in height. German chamomile grows to the height of 3 feet. Chamomile has green, feathery leaves that are alternately arranged on the stem. Flower consists of large number of individual flowers called florets. Outer part of the flower consists of 18 white ray florets. Yellow disk, located in the center of the flower, consists of miniature florets that have tubular shape. Chamomile blooms from June to July. Flies are main pollinator of chamomile flowers. Name “chamomile” originates from Greek words “chamos”, which means “ground” and “milos” which means “apple”. Chamomile is named that way because it grows close to the ground and smells like apple. Chamomile was used for the process of mummification in the ancient Egypt. Chemical compounds and oils that are used in medical and cosmetic industry are extracted from the flower. Even though beneficial effects of chamomile are not scientifically proven, chamomile is used in treatment of more than 100 different disorders. Chamomile can be used in the form of tea, tincture, lotion, capsules or various drops. Chamomile possesses anti-inflammatory properties, can be used for disinfection and to relieve the pain. It is mainly used for the treatment of urinary and ocular infections, skin rash, toothache, respiratory pain, premenstrual pain, migraine, insomnia, anxiety… Chamomile can induce side effects when it is consumed in combination with other medications. Also, chamomile may induce premature birth because it stimulates contraction of the uterus. People that are allergic to ragweed will probably exhibit allergy to the chamomile. Allergy can be triggered after application of cream containing chamomile or after consumption of tea. Homemade chamomile tea can be used for lighting of the blond hair. Besides its decorative morphology, chamomile can be very useful in the garden. It facilitates growth of the surrounding plants and even heals nearby sick plants. Lifespan of chamomile depends on the species. Roman chamomile is annual plant which lives only one year. German chamomile is perennial plant that lives more than two years.  Chamomile is a flower in the aster and daisy family. It is the national flower of Russia.   Something Sweet  Reviving the little botanic spark in your heart   On this day in 1982, a little movie about a botanist was released.   It was about a group of alien botanists secretly visit Earth under cover of night to gather plant specimens in a California forest. When government agents appear on the scene, the aliens flee in their spaceship, but in their haste, one of them is left behind. In a suburban neighborhood in the San Fernando Valley, a ten-year-old boy named Elliott discovers something is hiding in their tool shed.   Elliott leaves Reese's Pieces candy to lure the alien to his house. Later, Elliott's siblings - Michael and five-year-old sister, Gertie - meet it. They decide to keep ET hidden from their mom. ET demonstrates its powers by reviving dead chrysanthemums.   In the end, E.T. says goodbye to Michael and Gertie, as she presents him with the chrysanthemum that he had revived. Before boarding the spaceship, he embraces Elliott and tells him "I'll be right here", pointing his glowing finger to Elliott's forehead. He then picks up the chrysanthemum, boards the spaceship, and it takes off, leaving a rainbow in the sky as everyone watches it leave.      

If you are struggling in your business endeavors, know that you're not alone. Struggle is normal. That's how we grow stronger and better. To help and inspire you in your journey, we've pulled together some quotes about business growth to boost you when you're down and fortify you when you're in the arena. Remember… The more you learn to retrain and reframe, the less failure feels like pain, and it's all just growth.~LeAura Alderson, cofounder-iCreateDaily.comThe seedling struggles to push aside the soil and grow. The new mom pushes through pain and a baby is born. The butterfly beats its wings against the cocoon to grow strong enough to fly. The car moves because of the friction of the tire against the road. Our bodies stay healthier the more we push against gravity and move. https://www.icreatedaily.com/quotes-about-business-growth/ (Read the full 60 quotes here!)10 Quotes About Business Growth“Growth is a spiral process, doubling back on itself, reassessing and regrouping.”~Julia Margaret Cameron, British Photographer“Sometimes we need a push and a little help from our friends. Find friends who will support your aspirations, and together, you will go farther.”~LeAura Alderson, cofounder-iCreateDaily.com“The growth and development of people is the highest calling of leadership.”~Harvey S. Firestone, Fonder of Firestone Tire and Rubber Company“Building a business is like being a parent. You give your ‘child' structure and principle, while remaining open to whatever it is to become.”~LeAura Alderson, author, entrepreneur, cofounder-iCreateDaily“Keep on going, and the chances are that you will stumble on something, perhaps when you are least expecting it. I never heard of anyone ever stumbling on something sitting down.”~Charles F. Kettering, American inventor, engineer, businessman, and the holder of 186 patents“Embrace what you don't know, especially in the beginning, because what you don't know can become your greatest asset. It ensures that you will absolutely be doing things different from everybody else.”~Sara Blakely, American billionaire businesswoman, and founder of Spanx“Belief system creates your perspective… your perspective is all that matters.”~Tom Bilyeu, co-founder Quest Nutrition, founder Impact Theory“Creativity and innovation are fueled by curiosity and a willingness to fail.”~Chip Conley, American hotelier, hospitality entrepreneur, author and speaker“It's never the big things… it's all the little changes you can make in your life that make the difference.”~Dean Graziosi, on Impact Theory“Never let what you cannot do interfere with what you can do.”~John Wooden, American basketball player and head coachhttps://www.icreatedaily.com/gratitude-journal/ (A movement for creators serious about their art.)https://www.icreatedaily.com/free-goals-planner/ (The Day is the Way.)https://www.icreatedaily.com/store/ (iCreateDaily!)

Although 19th century photographer Julia Margaret Cameron did not pick up her first camera until the age of 49, the artistically composed and printed images she made during her short career were both groundbreaking for their time and an inspiration to artists long after her death. In this episode, Getty photography curator Karen Hellman discusses three … Continue reading "The Unusual Life of Photographer Julia Margaret Cameron"

Puntata di inizio anno dedicata alle novità del 2019 e con una citazione di Julia Margaret Cameron

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowdfunding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

Artists @zachkleyn talks about early childhood development and how play types established between the ages of 2 and 5 years old affect our adult interactions. Using his post graduate degrees in art and psychology, Zach’s company @climbplaymountain helps adults relax and reintroduce creative play into their lives. We also talk about Julia Margaret Cameron’s practice, and her book The Artists Way, as we address some of the existential challenges artists face when they accept they have to make art to feel right.

Julia Margaret Cameron is credited as making a huge impact on the development of modern photography.

In episode fifteen of Literary Canon Ball we discuss Janet Malcolm's Forty-One False Starts: Essays on Artists and Writers.Janet Malcolm is an award-winning American writer and journalist and the author of more than ten books, including the much revered, The Journalist and the Murderer.But it is Malcolm’s 2013 collection, Forty-One False Starts: Essays on Artists and Writers that we’re discussing today. The collection, much of which was first published in the New Yorker and the New York Review of Books, features sixteen essays on artists and writers as diverse as Virginia Woolf, Julia Margaret Cameron, JD Salinger, Edith Wharton and Cecily von Ziegesar.Malcolm has been described as ‘among the most intellectually provocative of authors, able to turn epiphanies of perception into explosions of insight.’ With her books bringing a ‘gimlet-eyed clarity to often fraught and complicated subjects and are so lean, so seamless, so powerfully direct, that read as they read as if they have been written in a single breath’Show Notes:Janet Malcolm, The Art of Nonfiction No. 4 https://www.theparisreview.org/interviews/6073/janet-malcolm-the-art-of-nonfiction-no-4-janet-malcolmA life in writing: Janet Malcolm https://www.theguardian.com/culture/2011/jun/06/janet-malcolm-a-life-in-writingForty-One False Starts by Janet Malcolm – review https://www.theguardian.com/books/2013/jul/28/forty-one-false-janet-malcolm-reviewTheir Own Petard ‘Forty-One False Starts,’ by Janet Malcolm https://www.nytimes.com/2013/05/26/books/review/forty-one-false-starts-by-janet-malcolm.htmlForty-One False Starts (essay from book) https://www.newyorker.com/magazine/1994/07/11/forty-one-false-startsForty One False Starts: Essays on Artists and Writers, by Janet Malcolm https://www.irishtimes.com/culture/books/forty-one-false-starts-essays-on-artists-and-writers-by-janet-malcolm-1.1487226FORTY-ONE FALSE STARTS BY JANET MALCOLM http://therumpus.net/2014/06/forty-one-false-starts-by-janet-malcolm/The queen of not-nice: Janet Malcolm’s ‘Forty-one False Starts’ https://www.themonthly.com.au/issue/2013/june/1370181600/amanda-lohrey/queen-not-nice-janet-malcolm-s-forty-one-false-startsJanet Malcolm's brilliant methods are on show in 'Forty-One False Starts' http://articles.latimes.com/2013/may/03/entertainment/la-ca-jc-janet-malcolm-20130505I Read Everything Janet Malcolm Ever Published http://www.slate.com/articles/arts/the_completist/2013/05/janet_malcolm_review_forty_one_false_starts_journalist_and_the_murderer.htmlRecommendations:KirbyYou Can't Ask ThatThe Bechdel Cast podcastNeveKilling EveInterview with Sandra Ohhttps://www.vanityfair.com/hollywood/2018/04/killing-eve-sandra-oh-interviewHannah Witton bloghttps://hannahwitton.com/am-i-disabled/Fi'The Spare Room' by Helen Garner'Conversations with Friends' by Sally Rooney'Madness: a memoir' by Kate Richards'Becoming Disabled' by Rosemarie Garland-Thomsonhttps://www.nytimes.com/2016/08/21/opinion/sunday/becoming-disabled.htmlContact UsTwitter: @litcanonballInstagram: @literarycanonballFind us on Facebook at Literary Canon BallEmail: literarycanonball@gmail.com

"There is still a misunderstanding on the subject of the straight print, as opposed to the modified print. Some champions of pure photography, as it is called, will even deny that a modified print is a photograph at all. For my part, I believe that if the X deposit forming an image is built up by the action of light, under the shadow of another image, transparent, and also due to light action, the result must be a photograph, whatever modifications the photographer has thought proper to introduce amongst the relative proportions of the deposit" - Robert DemachyWelcome to the Outerfocus podcast!This week we are joined by Argentinian photographer, Facundo Santana. Although Facu shoots weddings he is also a great street photographer, and we discuss why shooting the street can better inform wedding photography. English isn't Facu's first language and he has been learning by watching movies, reading books, and listening to the Outerfocus podcast (haha he's learning English from me! Some weird Geordie/Argentinian hybrid going on there)That said, he did a great job as it's difficult enough to learn a new language, let alone express ideas and concepts. Facu has agreed to write a guest post for the Outerfocus website to try and explain a little better his ideas around the benefit or practicing street photography. History this week is, Robert Demachy, and we talk about his processes, approach to the medium and his involvement with Stieglitz's Photo Secession. We also discuss his frustration with the conservative views of other photographers of the day and how that same issue is alive and well even to this day. Correction: I mention Julia Margaret Cameron as a photographer who went the ideals of Stieglitz and the Photo Secession. My apologies. It was, of course, Gertrude Käsebier.Facundo Santana Linkshttp://www.facundosantana.com/https://www.instagram.com/facusantana/?hl=enHost Links:https://www.outerfocuspodcast.cominfo@outerfocuspodcast.comhttps://www.instagram.com/f8kym/Bradley Hansonhttps://www.bradleyhanson.comhttps://www.facebook.com/bradleyhansonphotographyhttps://www.instagram.com/bradleyhansonphotography/https://twitter.com/bradleyhansonIan Weldonhttp://ianweldon.comhttps://www.instagram.com/not_wedding_photography/https://www.facebook.com/Ian-Weldon-Photography-124854627581367/Books:Support the show (https://www.patreon.com/outerfocuspodcast)

Welcome to the Outerfocus Podcast!Ok, so I'm in a hotel room in London with a terrible cold, full of lemsip, painkillers and red wine trying not to die. I apologise for the coughs and sniffles. I was very brave though! Bradley is on his driveway in his car so as not to wake his son who has just had an operation and Kirk, well, Kirk is just fine and in high spirits. This week we are joined by, Kirk Mastin, who is the founder and CEO of Mastin Labs. Kirk discusses film photography in the digital age, his view on the photography industry today and how he went from wanting to be a National Geographic photographer as a youngster to shooting weddings.Our history of photography segment looks back at the photographer Julia Margaret Cameron who in the 1860’s started her career at the good age of 48 after she acquired a camera from her daughter. We discuss Julia's approach and individual vision, what was right and wrong for her, and how that relates to photography today.Also, Kirk and Bradley look at what’s good in the industry today, touching on making books and prints, and social media users with 0 followers who produce great work.Links:Julia Margaret Cameron Books:Steven Bollman, Almost TrueJoel Meyerowitz, Cape Light

David Rocklin found a novel in a photograph. While researching his first novel about the photographer Julia Margaret Cameron, David Rocklin was struck by an image she had taken of the Prince of Abyssinia. The image wouldn't let him go and despite his hesitation and fear in taking on such an enormous topic, he wrote his second novel, The Night Language, anyway. I am loving discussing how people incorporate history into writing and the ways that novels force us to look at stories different than our own and to do them justice. In addition, those curious about the publishing experience with a small press from the writer's side will enjoy this episode. (For a conversation with a small press, please check out episode 10 with Rare Bird Lit's Julia Callahan.) See acast.com/privacy for privacy and opt-out information.

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

27 Contexts –An Anecdotal History in Photography by Mark Alice Durant was published by Saint Lucy Books (January, 2017) with 288 pages and 90 Color and black and white images. 27 Contexts is a series of linked essays that examine how photographs are inextricably bound in our personal and collective histories. Beginning with the author’s childhood obsession with his parents’ wedding album through a lifetime making photographs, teaching, and writing about photography, Durant’s narrative weaves memoir with photographic history and theory. Illustrated with a broad spectrum of images from family snapshots to Hubble space imagery, to the work of artists such as Josef Koudelka, Julia Margaret Cameron, Larry Sultan, Maya Deren, Odilon Redon, Nan Goldin, David Wojnarowicz and Chris Marker, 27 Contexts describes a life immersed in the quotidian, the political, and the enigmatic aspects of photography. Durant has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College, he is now Professor of Photography at the University of Maryland School of Visual Arts. 27 Contexts – An Anecdotal History in Photography is available through the publisher’s website: https://saint-lucy.com/shop/27-contexts/ . Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 2 we discuss our visit to Eltham Palace, an art deco paradise in London. Our historical babe of the week is Julia Margaret Cameron who snapped images of women in the nineteenth century. You can visit Eltham Palace too, more information here: http://www.english-heritage.org.uk/visit/places/eltham-palace-and-gardens/ Information about JMC and the V&A exhibition which Amelia talks about: http://www.vam.ac.uk/page/j/julia-margaret-cameron/ You can follow us on @marryamitford and send us historical romance tips on nevermarryamitford [at] gmail [dot] com. Never Marry A Mitford is edited by podcast guru Louisa Shanks.

Lionel Shriver's latest novel, The Mandibles, is set in 2029, and also in 2047, and looks at what might happen in America should the economy completely collapse. She reveals what inspired her to tackle this subject matter.Music critic Pete Paphides reviews A Moon Shaped Pool, the new album from Radiohead and the group's first since 2011's The King of Limbs.Richard Linklater, acclaimed director of Dazed and Confused and Boyhood, on his latest offering, the nostalgic 1980s college film, Everybody Wants Some!!Painting with Light: Art and Photography from the Pre-Raphaelites to the Modern Age is a new exhibition at Tate Britain exploring how the emergence of photography influenced painters. Spanning 75 years across the Victorian and Edwardian ages, the exhibition brings together paintings from artists including Millais, Rossetti, Whistler and Sargent, and photographs by pivotal figures such as Julia Margaret Cameron.

With another week comes another unadulterated dose of El Arpa's honest reflections, this time on a photography exhibition showcasing Julia Margaret Cameron's work at Fundacion Mapfre in Madrid. (Photo (c) Victoria and Albert Museum)

This seminar, presented in collaboration with the History and Theory of Photography Research Centre at Birkbeck, will explore the new material Martha Weiss discovered while researching the current must-see exhibition at the Victoria and Albert Museum, marking the bicentenary of the birth of Julia Margaret Cameron, 150 years after she first exhibited her work there. Colin Ford has worked extensively on this important photographer, most notably in the comprehensive catalogue Julia Margaret Cameron: Complete Photos (Getty, 2002).

Fotografen Julia Margaret Cameron (1815-1879) förde med sällsynt driv och egen stil fram fotografi som en konstform värd att tas på allvar. När Julia Margaret Cameron var 48 år fick hon en present av sin nygifta dotter, den sista av elva barn hon uppfostrat, som nu var på väg att flyga ur boet. Den här kan du kanske ha roligt med, sade hon. Förhoppningsvis kan den få dig att känna dig mindre ensam. Det var en kamera. Det blev början på en helt ny karriär. Hon ställde ut sina fotografier över hela Europa. Hon sålde dem dyrt. Hon såg till att skaffa sig copyright. Idag betraktas den brittiska Julia Margaret Cameron som en av de mest stilbildande fotograferna genom tiderna. Julia Margaret Cameron hade nämligen ett mycket personligt sätt att fotografera på. Bilderna utmärks av att vara hårt beskurna med en nästan drömlik mjukhet. Hon ser ju dåligt, sa somliga. Hon har inget grepp om tekniken, sa andra. Skärpan saknades ju, knorrades det. Men bristen på skärpa, eller soft focus, var hennes poäng, och ett medel i hennes strävan efter att skapa beauty, skönhet i en vid bemärkelse. Och hon hade stenkoll på tekniken, och hur den kunde användas. Många av de personer som Julia Margaret Cameron porträtterade var några av dåtidens största kändisar. Alfred Tennyson, författaren vars dikt Nyårsklockan läses från Skansens scen varje nyårsnatt, var en. Författaren Anthony Trollope en annan. Charles Darwin ytterligare en. Hennes porträtt av denne biolog och forskare pryder för övrigt dagens 10-pundsedlar i Storbritannien. I veckans program berättar vi mer om fotopionjären Julia Margaret Cameron och hennes korta, men inflytelserika, karriär. Vi undersöker också varför modevärlden är så intresserad av teknologi just nu och vad så kallad aurafotografering egentligen innebär - och varför aurafotografier har börjat leta sig in i på flera modetidningars sidor. Och så tar vi reda på vad som händer när folk tröttnar på alla gamla porträtt, semesterbilder och familjealbum som ligger i lådor och skåp och samlar damm. Veckans gäst är Anna Tellgren, intendent på Moderna Museet.

Anne McElvoy discusses Mein Kampf coming out of copyright with Ben Barkow of the Wiener Library in London, Heinrich von Berenberg – a publisher based in Berlin and Nicholas Stargardt, author of The German War and a professor of Modern European History at Oxford. Photographer Anna Fox and painter Chantal Joffe discuss an exhibition of Julia Margaret Cameron photographs at the Victoria and Albert Museum. New Yorker journalist Larissa MacFarquhar talks to Anne McElvoy about altruism.

A conversation between Visiting Assistant Professor of English Jamison Kantor and Curator of Academic Programs Shalini Le Gall Wednesday, November 18, 2015

Ellie Jones presents her Master's thesis entitled 'Personal Relics and National Treasures: The Canonization of Julia Margaret Cameron'.

In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011. Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham.

In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011. Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham.

In his lecture Leif Wigh talked about the technological and stylistic developments of photographic history’s different periods using examples from the exhibition. During the second half of the 19th century Julia Margaret Cameron developed a very personal artistic approach using the technology of her time. At first glance one could think that the Czech artist Miroslav Tichy was inspired by her approach. Leif Wigh is the former Curator of Photography, Moderna Museet Recorded February 14, 2008 at Magasin 3, Stockholm Language: Swedish

In his lecture Leif Wigh talked about the technological and stylistic developments of photographic history’s different periods using examples from the exhibition. During the second half of the 19th century Julia Margaret Cameron developed a very personal artistic approach using the technology of her time. At first glance one could think that the Czech artist Miroslav Tichy was inspired by her approach. Leif Wigh is the former Curator of Photography, Moderna Museet Recorded February 14, 2008 at Magasin 3, Stockholm Language: Swedish

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