Mary, Marianne, Margaret y las flores del rāj

  1. de la Rubia Gómez-Morán, Andrea 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Aldizkaria:
Anales de historia del arte

ISSN: 0214-6452

Argitalpen urtea: 2021

Zenbakia: 31

Orrialdeak: 127-146

Mota: Artikulua

DOI: 10.5209/ANHA.78053 DIALNET GOOGLE SCHOLAR lock_openSarbide irekia editor

Beste argitalpen batzuk: Anales de historia del arte

Laburpena

Throughout the nineteenth century the expansion of the British Empire in Asia, as well as in other parts of the world, would generate the need to illustrate the new scientific discoveries of flora and fauna with the greatest precision, as well as the visual translation of the foreign architecture and landscapes through the picturesque language. The act of painting nature abroad, whether for scientific or creative purposes, became a secular fashion starring upper-class travelers who at that time ventured to explore the new places, gradually colonized by the Oriental idea. Coinciding with the emergence of the feminist movements in the West, the following article explores these ideas through the pictorial works of three Victorian women living in India at different stages of development of the rāj, as well as in different contexts. Lovers of gardens and passionate about botany, these women dedicated much of their time to include the country´s creative forms of flora and fauna in their drawings, paintings, or photographs from 1850. At the same time, these Victorian women were encountered with an exuberantly erotic India, still underlying at the fringes of the Empire, and very much present in the traditional art and culture. Based on the scientific illustrations of Mary Impey, the garden paintings of Marianne North and the theatrical photographs of Margaret Cameron, this article concludes that the analysis of these three women´s floral works should be carried out not only as a documentary-colonial act, but above all as a way of unleashing the erotic and sensual character intrinsic to their feminine condition. Having been their sexuality repressed as women of the rāj, and rediscovered through their encounter with the eastern nature.

Erreferentzia bibliografikoak

  • Agnew, E. (2011). «An Old Vagabond»: Science and Sexuality in Marianne North’s Representations of India. Nineteenth-Century Gender Studies 7(2), 4-17.
  • Augé, M. (1995). Non-Places. Introduction to an Anthropology of Supermodernity. London: Verso, 77-78.
  • Cannon-Brokes, C. (2013). Mary Impey’s Indian Bird Paintings. British Society for Eighteen-Century Studies. Obtenido de: https://www.bsecs.org.uk/criticks-reviews/lady-impeys-indian-bird-paintings/ [Consulta: 28 de diciembre de 2020].
  • Colburn, T. C. (2012). Growing Gardens: Botanical gardens, public space and conservation (Tesis fin de Master) California Polytechnic State University, San Luis Obispo, 14.
  • Coomaraswamy, A. K. (2010). The Transformation of Nature in Art. New Delhi: Munshiram Manoharlal Publishers, 73.
  • Edwards, P. I. (1980). Company Sponsorship and the Beginnings of Indian Botany. En A Selection of Late 18th and Early 19th Century Indian Botanical Paintings. Pittsburg: The Hunt Institute of Botanical Documentation, 23.
  • Fernández del Campo, E. (2013). El arte tántrico. En El Arte de India. Historia e historias. Madrid: Editorial Akal, 19-47.
  • Gilpin, W. (1792). On Picturesque Beauty. On Picturesque Travel. And on Sketching Landscape. To Which Is Added a Poem on Landscape Painting. Londres: R. Blamire, 26.
  • González Lemus, N. (2000). Marianne North y Tenerife. Cartharum: Revista de Ciencias y Humanidades (1), 52-61.
  • Gurshtein, K. (2007). The Mountain and the Mole-hill: Julia Margaret Cameron’s Allegories, Bulletin. The University of Michigan. Museums of Art and Archaeology, 17. Obtenido de: http://hdl.handle.net/2027/spo.0054307.0017.101 [Consulta: 3 de enero de 2021].
  • Herbert, E. (2014). Julia Margaret Cameron in Ceylon: Idylls of Freshwater vs. Idylls of Rathoongodde. The Public Domain Review. Obtenido de: https://publicdomainreview.org/essay/julia-margaret-cameron-in-ceylon [Consulta: 11 de enero de 2021].
  • Kaminska-Jones, D. (2015). Aesthetics in the Service of Colonialism. The Picturesque in the Indian Context. The Polish Journal of the Arts and Culture (14), 63-82. 65-67.
  • Kossak, S. (1999). Indian Court Painting 16th-19th Century. Nueva York: The Metropolitan Museum of Art.
  • Ku, H. (2018). Her Lady’s Room: Portrait of a Lady in Colonial Calcutta. Centre for Design History. Obtenido de: http://blogs.brighton.ac.uk/centrefordesignhistory/2018/10/20/seminar-hawon-ku/ [Consulta: 10 de enero de 2021].
  • Mac Dougall Lescano, D. (2016). «Not Lost to Human Sight»: Indian Glimpses of Privacy in Zenana Photographers Dayanita Singh, Gauri Gill and Ketaki Sheth (Tesis doctoral). Universitat Pompeu Fabra.
  • Melville, J. V. (2013). The Theatre of Anon: Julia Margaret Cameron, Virginia Woolf, and the Performance of Alfred Tennyson’s Idylls of the King (Tesis doctoral). Columbia University, 19.
  • North, M. (1892). Further Recollections of a Happy Life. London: Macmillan and Co., 324-325.
  • Ramírez Alvarado, M. (2016). Las miradas turbadoras: La obra de la fotógrafa Julia Margaret Cameron en el marco de la Historia de la Comunicación y de los Estudios de Género. Observatorio, 10 (1), 181-200: 183.
  • Said, E. W. (2000). Orientalismo. (Trad. M. L. Fuentes). Madrid: Debate (Original en inglés, 1997).
  • Stainer, H. (2020). Forgotten Masters. Obtenido de: https://hazelstainer.wordpress.com/2020/02/07/forgotten-masters/ [Consulta: 23 de diciembre de 2020].
  • Smith, R. y Way, T. (2017). History explorer: Victorian gardens. History Extra. Obtenido de: https://www.historyextra.com/period/victorian/history-explorer-victorian-gardens/ [Consulta: 13 de abril de 2021].
  • Tobin, B. F. (1999). Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting. Durham and London: Duke University Press, 174-175.
  • Warnapala, K. C. (2008). Dismantling the Gaze: Julia Margaret Cameron’s Sri Lankan Photographs. Postcolonial Text, 4 (1), 1-20: 5.
  • Welch, S. C. (1980). A Confluence of East and West, Art and Science. Company Botanical Painting: its background and character. En A Selection of Late 18th and Early 19th Century Indian Botanical Paintings. Pittsburg: The Hunt Institute of Botanical Documentation, 23. (prev.).
Datuen iturria: Dialnet