4.7 Exceptions

Activity 13

Do you think the contact between the people in Image 29 is different from that in Images 27 and 28? Can you describe the nature of the contact?


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4.6 Touch and feeling

Activity 12

Images 27 and 28 represent the conventional pose of the newly-wedded couple who would visit the studio sometime after marriage to commemorate the event with a portrait. (We shall look at wedding portraits again late
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4.5 Touch

Let's consider more closely the nature of touch and physical contact normally displayed in Victorian studio portraits.

Activity 11

Compare Images 25 and 26, which are portraits of Edward, Prince of Wales and his fianc
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Activity 10

Scrutinize the arrangement of the sitters in the family group in Image 24. In such groupings it's important to consider the overall effect, the position and pose of each individual, the direction of heads and eyes and to note who is touching whom.

Figure 24

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4.4 Groups

If we agree that the posing of individuals carried messages for the viewer it makes sense that the posing of family groups can similarly be made to convey suggestions about the family and its character.


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4.3 Characterisation and sexual stereotyping

The choice of pose was also intended to echo the limited positive characterization of the expression. Distinctions were inevitably drawn between poses regarded as suitable for males and those considered appropriate for females. Men were allowed greater variety of poses than women.

The pose of a lady should not have that boldness of action which you would give a man, but be modest and retiring, the arms describing g
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Activity 8

Look closely at Image 17, a photograph of two young clerics. Then answer the two questions below.

Figure 17
Image 17 Photographer/Painter: Hills & Saunders, Oxford. Subject: Two churchmen, identities unknown, c.1900.
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