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Julia Margaret Cameron's 'fancy subjects'Photographic allegories of Victorian identity and empire$
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Jeff Rosen

Print publication date: 2016

Print ISBN-13: 9781784993177

Published to Manchester Scholarship Online: September 2016

DOI: 10.7228/manchester/9781784993177.001.0001

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North’s gardens: redemption and the return to origins

North’s gardens: redemption and the return to origins

Chapter:
(p.266) 7 North’s gardens: redemption and the return to origins
Source:
Julia Margaret Cameron's 'fancy subjects'
Author(s):

Jeff Rosen

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781784993177.003.0008

In 1874, Cameron left England for Ceylon, and two years later, when the painter Marianne North visited her, both women produced works of art in each other’s presence that expressed cultural displacement and embedded political commentaries on exoticism, cultural inferiority, and dependence. The final chapter examines the work of both artists in relation to their confrontation with colonialism. Cameron’s imagery is examined as both a ‘return to origins’ and an act of redemption. Cameron’s photograph depicting Marianne North looking up from reading George Eliot’s recently serialized novel, Daniel Deronda, is analysed in depth, arguing that the photographer included this book in her portrait of North as an important symbol because of the significance of Eliot’s work, which helps to ground the two women in place and time, as well as mark the colonialists’ conflict in larger terms. Eliot’s book is connected to Cameron’s photography, in which the search for a mythic return to origins is measured by the artists’ effort to reclaim a ‘lost’ and foreign land, all in view of extending the nation’s borders on the political map as an act of redemption.

Keywords:   Marianne North, George Eliot, ‘Daniel Deronda’, Ceylon, Botanical garden, Colonial governmentality, Redemption

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