Abstract
Without the invisible, the meaningful visible is scarcely possible. This claim, central to this chapter, appears to be the case when examining the theoretical positions championed or implied by significant individuals within photography’s history. Elizabeth Eastlake, Julia Margaret Cameron, and Peter Henry Emerson, writing in the nineteenth century, as well as Frederick H. Evans, Maurice Maeterlinck, and Alfred Stieglitz, writing in the twentieth century, each celebrate in a unique way the partially invisible image. Furthermore, Nathaniel Hawthorne’s literary references to the daguerreotype in his novel The House of the Seven Gables are worthy of consideration and have been insufficiently celebrated in mainstream literature.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Works Cited
Anesko, Michael, and N. Christine Brookes, ed., trans., The French Face of Nathaniel Hawthorne: Monsieur de l’Aubépine and His Second Empire Critics. Columbus: The Ohio State University Press, 2011.
Bailey, Gauvin Alexander, ed., Art in Time. London: Phaidon, 2014.
Barthes, Roland, Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Farrar, Straus and Giroux, 1981.
Bowditch, Lucy, “Steichen and Camera Work.” The Photo Review 26, no. 1 (September 2003): 16–22. Published on occasion of the exhibition Camera Work: A Centennial Celebration at the James A. Michener Art Museum, Doylestown, Pennsylvania, September 13–December 28, 2003.
Brusius, Mirjam, “Impreciseness in Julia Margaret Cameron’s Portrait Photographs.” History of Photography 34, no. 4 (November 2010): 342–55.
Chipp, Herschel, ed., Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: University of California Press, 1968.
Dyer, Geoff, The Ongoing Moment. New York: Vintage Books, 2007.
Eastlake, Lady Elizabeth, “Photography.” The London Quarterly Review, no. 101 (April 18, 1857): 442–68. www.photokaboom.com/photography/pdfs/Lady_Eastlake.pdf.
Emerson, P.H., Naturalistic Photography for Students of the Art. London: Sampson Low, Marston, Searle & Rivington, 1890.
Felton, Robert Todd, “Hawthorne and Transcendentalism.” Lecture delivered at The House of the Seven Gables Historic Site, Salem, MA, October 4, 2006. http://hawthorneinsalem.org/ScholarsForum/MMD2635.html.
Fetveit, Arild, “Death, Beauty, and Iconoclastic Nostalgia: Precarious Aesthetics and Lana Del Rey.” Necsus, Autumn 2015. http://necsus-ejms.org/death-beauty-and-iconoclastic-nostalgia-precarious-aesthetics-and-lana-del-rey/.
Gladwell, Malcolm, Blink. New York: Little, Brown & Company, 2005.
Green, Jonathan, ed., Camera Work: A Critical Anthology. New York: Aperture, 1973.
Hausken, Liv, ed., Thinking Media Aesthetics: Media Studies, Film Studies, and the Arts. New York: Peter Lang Publishing, 2013.
Hawthorne, Nathaniel, The House of the Seven Gables. New York: The Modern Library, [1851] 2001.
Herkman, Juha, Taisto Hujanen, and Paavo Oinonen, eds., Intermediality and Media Change. Tampere: Tampere University Press, 2012.
Kelly, Sean J., “‘Hawthorne’s Material Ghosts’: Photographic Realism and Liminal Selfhood in The House of the Seven Gables.” Papers on Language and Literature 47, no. 3 (Summer 2011): 227–60.
Lyons, Nathan, ed., Photographers on Photography. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
Marx, Leo, The Machine in the Garden: Technology and the Pastoral Ideal in America. New York: Oxford University Press, 1964.
McNeilly, Stephen, ed., Philosophy, Literature, Mysticism: An Anthology of Essays on the Thought and Influence of Emanuel Swedenborg. London: The Swedenborg Society, 2013.
Newhall, Beaumont, Photography: Essays & Images: Illustrated Readings in the History of Photography. New York: The Museum of Modern Art, 1980.
Newhall, Beaumont, The History of Photography: From 1939 to the Present. New York: The Museum of Modern Art, [1937] 1982.
Perloff, Stephen, ed., The Photo Review 26, no. 1 (September 2003). Published on occasion of the exhibition Camera Work: A Centennial Celebration at the James A. Michener Art Museum, Doylestown, Pennsylvania, September 13–December 28, 2003.
Wilson, Kristina, “The Intimate Gallery and the Equivalents: Spirituality in 1920s Work of Stieglitz.” The Art Bulletin 85, no. 4 (December 2003): 746–68.
Wittgenstein, Ludwig, Philosophical Investigations. Translated by G.E.M. Anscombe, P.M.S. Hacker, and Joachim Schulte. Oxford: Wiley-Blackwell, 2009.
Wells, Liz, ed., The Photography Reader. New York: Routledge, 2003.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Bowditch, L. (2019). Power in Partial Invisibility: Reframing Positions on Nineteenth- and Early Twentieth-Century Photography. In: Grønstad, A., Vågnes, Ø. (eds) Invisibility in Visual and Material Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-16291-7_10
Download citation
DOI: https://doi.org/10.1007/978-3-030-16291-7_10
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-16290-0
Online ISBN: 978-3-030-16291-7
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)