Hannah Maynard: Difference between revisions
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{{short description|Canadian photographer ( |
{{short description|Canadian photographer (1834–1918)}} |
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{{Infobox artist |
{{Infobox artist |
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| name = Hannah Maynard |
| name = Hannah Maynard |
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| birth_name = Hannah Hatherly |
| birth_name = Hannah Hatherly |
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| birth_date = {{birth date|1834|01|17}} |
| birth_date = {{birth date|1834|01|17}} |
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| birth_place = [[Bude]], |
| birth_place = [[Bude]], Cornwall, England |
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| death_date = {{death date and age|1918|5|15|1834|01|17}} |
| death_date = {{death date and age|1918|5|15|1834|01|17}} |
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| death_place = [[Victoria, British Columbia |
| death_place = [[Victoria, British Columbia]], Canada |
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| field = |
| field = Photographer |
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| spouse = [[Richard Maynard (photographer)|Richard Maynard]] |
| spouse = [[Richard Maynard (photographer)|Richard Maynard]] |
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}} |
}} |
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'''Hannah Hatherly Maynard''' ([[Bude]], 1834 |
'''Hannah Hatherly Maynard''' ([[Bude]], 1834 – [[Victoria (British Columbia)|Victoria]], 1918)<ref name="Camera Workers">{{Cite web |url=https://cameraworkers.davidmattison.com/getperson.php?personID=I434&tree=cw18581950|title=Maynard, Hannah Hatherly|last1=Mattison|first1=David|website=Camera Workers, The British Columbia Alaska & Yukon Photographic Directory, 1858–1950 |access-date=15 December 2019|archive-url=https://web.archive.org/web/20160629155424/https://cameraworkers.davidmattison.com/getperson.php?personID=I434&tree=cw18581950|archive-date=29 June 2016|url-status=live}}</ref> was a Canadian photographer best known for her portrait work and experimental photography involving [[photomontage]] and [[multiple exposure]]s. She also photographed people using techniques that made them appear as statuary: on columns or posing as if they were made of stone. |
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==Early life |
==Early life and career== |
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She was born in 1834 as Hannah Hatherly, in [[Bude]], Cornwall. Hatherly married in 1852 [[Richard Maynard (photographer)|Richard Maynard]], an apprentice boot-maker, and in the same year they emigrated to [[Bowmanville]] in [[Canada West]] (present-day [[Ontario]]), where four of their five children were born.<ref name="Watson page 1">Watson 1992, p. 1.</ref> In 1858, Richard joined the exodus of gold-seekers on the [[Fraser River]] in British Columbia, and his venture appears to have been profitable.<ref name="Watson page 1"/> While her husband was out west, Maynard learned the basics of photography, most likely from R & H O'Hara Photographers, in Bowmanville. After selling the boot store, in 1862 the family moved to [[Victoria (British Columbia)|Victoria]] on the [[Colony of Vancouver Island]]. Richard soon left for the [[Stikine River]] to take up [[placer mining]], and it is believed that in 1862 Hannah opened up her first photographic studio, Mrs. R. Maynard's Photographic Gallery.<ref name="Wilks page 5">Wilks 1980, p. 5.</ref> Upon his return home in 1863,<ref name="Wilks page 5"/> Richard found his wife successfully entrenched as a photographer, and by 1864 Hannah had taught her husband the principles of photography while he operated a second boot store.<ref name="Wilks page 5"/><ref name="Pioneer page 387">Palmquist & Kailbourn 2000, p. 387.</ref> |
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In the ensuing years, Hannah and Richard had contrasting photographic specialties. Hannah was best known for her portrait work and at the same time managed darkroom affairs and studio promotion, while Richard focused almost exclusively on outdoor photography.<ref name="Williams page 64">Williams 2003, p. 64.</ref> From 1874 onwards, the couple operated their photographic studio and shoe store in one building.<ref name=":0">{{Cite book |last=Bassnett, Sarah; Parsons, Sarah |url=https://www.aci-iac.ca/art-books/photography-in-canada-1839-1989/key-photographers/hannah-maynard/ |title=Photography in Canada, 1839–1989: An Illustrated History |publisher=Art Canada Institute |year=2023 |isbn=978-1-4871-0309-5 |location=Toronto |language=English}}</ref> The couple frequently traveled together, in 1875 to purchase photographic equipment in San Francisco, in 1879 on a pleasure cruise around [[Vancouver Island]], and to [[Banff, Alberta|Banff]] in the late 1880s.<ref name="Camera Workers"/><ref name="Wilks pages 5-7">Wilks 1980, pp. 5–7.</ref> Hannah also made a solo trip to the [[Queen Charlotte Islands]] sometime in the same decade.<ref name="Wilks page 5"/> While they published their photographs under separate imprints, it is sometimes unclear in the case of landscape views whether Hannah or Richard was the photographer.<ref name="Wilks page 5"/> |
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==Career== |
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==Portraiture and experimental photography== |
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[[Image:Gems of British Columbia 1883.jpg|right|thumb|upright=0.9|''Gems of British Columbia.'' 1883]] |
[[Image:Gems of British Columbia 1883.jpg|right|thumb|upright=0.9|''Gems of British Columbia.'' 1883]] |
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Maynard's portrait work encompassed several different formats following the fashions of the day, [[Carte de visite|cartes-de-visite]] in the 1860s, [[cabinet card]]s in the following decade, as well as larger-sized prints.<ref name="Watson pages 2-3">Watson 1992, pp. 2–3.</ref> The Maynard studio is known to have produced forty-three cartes-de-visite of native people, often [[Victoria (British Columbia)|Victoria]] street vendors.<ref name="Watson pages 2-3"/> Maynard was a master of lighting technique, and she was one of the early adopters of line-lit photography to highlight facial features.<ref name="Wilks page 119.">Wilks 1980, p. 119.</ref> Her backgrounds were often highly ornamental, using painted backgrounds and elaborate domestic interiors and props.<ref name="Watson pages 2-3"/> |
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Starting about 1880, Maynard began to experiment with [[photomontage]] in her ''Gems of British Columbia'' series which she created each year between 1881 and 1895.{{refn|group=nb|Wilks (1980) gives the last year for ''The Gems'' as 1895, Williams (2003) as 1898.}} Conceived as an annual greeting card to be sent out on New Years to all the mothers of children she had photographed in the preceding year, it was very popular. She cut out the outline of the photograph of each baby or child, and then mounted the images on a pane of window glass and re-photographed the whole.<ref name="Wilks pages 9, 13">Wilks 1980, pp. 9, 13.</ref><ref name="Williams pages 126-127">Williams 2003, pp. 126–127.</ref> She began to incorporate the montages of previous years in [[symbolist]] patterns, resulting in compositions that included up to 22,000 individual photographs.<ref name="Wilks pages 10, 31">Wilks 1980, pp. 10, 31.</ref> Her ''Gems'' of 1885 was published and praised by the ''St. Louis and Canadian Photographer'' in 1886, bringing Maynard a measure of recognition throughout North America.<ref name="Williams page 129">Williams 2003, p. 129.</ref><ref name="Wilks page 9">Wilks 1980, p. 9.</ref> |
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=== Portraiture === |
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The majority of Maynard’s work was comprised of studio portraits. She photographed people from all walks of life, politicians, sailors, merchants, immigrants, locals, men, and women.[5] She also took thousands of portraits of children that were seen as very naturalistic for the time period.[6] Maynard was well known for her use of lighting, pose, ambience, framing, and print quality.[7] A published account of her time in Victoria reads; “I think I can say with every confidence that we photographed everybody in the town at one time or another.”[8] She worked in multiple forms and medias, making [[Daguerreotype|daguerreotypes]], ''[[Carte de visite|cartes de visite]]'', and [[Collodion process|wet collodion process]] prints.[9] |
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Beginning in 1883 Maynard was struck by personal tragedy, with the death of her 16-year-old daughter Lillian of typhoid fever, followed in later years by another daughter Emma and daughter-in-law Adelaide, and some of her photographs began to take on the aspect of a memorial to the departed.<ref name="Watson pages 6-7">Watson 1992, pp. 6–7.</ref> It was also in this period that she took an interest in [[seances]] and [[Spiritualism (movement)|Spiritualism]].<ref name="Wilks page 11">Wilks 1980, p. 11.</ref><ref name="Watson page 7">Watson 1992, p. 7.</ref> She began in the 1880s to create a type of photograph described by her as "Living Statuary" or "Statuary from Life", the sitter often appearing as a bust on a pedestal.<ref name="Wilks pages 10-11, 35">Wilks 1980, pp. 10–11, 35.</ref><ref name="Watson page 6">Watson 1992, p. 6.</ref> Her experimentation developed further into the realm of multiple exposure, and some photographs show as many as four or five likenesses of Maynard, often engaged in different tasks, or in one notable image, holding a single garland of flowers.<ref name="Watson pages 6-7"/><ref name="Wilks pages 11-12">Wilks 1980, pp. 10–11.</ref> She also often included members of her close family in these photographs, such as in ''Hannah Maynard and her grandson, Maynard McDonald, in a tableau vivant composite photo'', c.1893.<ref name=":0" /> A selection of her double and multiple exposure photographs were published in the ''St. Louis and Canadian Photographer'' in 1894.<ref name="Wilks page 12">Wilks 1980, p. 12.</ref> Another difficult technique that Maynard pursued was that of [[bas-relief]], which involved the embossing of a photograph.<ref name="Wilks page 124">Wilks 1980, p. 124.</ref> Around 1897, Maynard discontinued her investigations of [[trick photography]].<ref name="Wilks page 13">Wilks 1980, p. 13.</ref> |
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=== Photomontage === |
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Hannah Maynard began to experiment with the process of photomontage in her “Gems of British Columbia” series.[10] Between 1880 and 1895, she distributed [[Cabinet card|cabinet cards]] with faces of all of the children and babies that she had photographed throughout the earlier year.[11] The faces of each were cut out, rephotographed, and reduced in size, and then pasted onto a glass background.[12] The photos were often arranged in intricate designs, including a diamond, a crown, a wreath, a star, and a beetle-like shape.[13]As the years went on, miniature versions of the older cards would be added to the newest one, sometimes in the form of a frame.[14] These cards were originally made to be sent to the mother’s of all the compiled children[15], but were eventually published in the ''St Louis and Canadian Photographer'', an American photography journal.[16] |
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==Later years and legacy== |
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=== Multiple Exposures === |
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Based in the practice of [[spirit photography]], this style of Maynard’s work was both technically challenging, and thought provoking for the time.[17] All of Maynard’s photographs in this style were produced in 1893, a time where all the relevant information for making photographs of this kind was readily available in American and European photography journals and magazines.[18] Maynard’s works were not simple, sometimes combining up to five exposures of herself interacting with each other in different poses.[19] These photographs often parodied the domestic life of the time, with Maynard doing things like pouring tea, spinning wool, or writing a letter.[20] Maynard often combined this technique with others, including statue photography.[21] |
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Between 1897 and 1902, while continuing her studio portraiture, Maynard was the official photographer of the [[Victoria Police Department]], producing [[mug shot]]s as required <ref name="Wilks page 113">Wilks 1980, p. 113.</ref> as well as portraits of officers.<ref name=":0" /> She also photographed for the government in other capacities and worked as an ethnographic photographer.<ref name=":0" /> In 1907 her husband Richard died, and in 1912 she retired, selling her photographic equipment to a local Chinese photographer.<ref name="Camera Workers"/><ref name="Wilks page 13"/> She summarized her achievement by stating that "I think I can say with confidence that we photographed everyone in the town at one time or another."<ref>Victoria Daily Colonist, September 29, 1912. Cited in Watson, 1992.</ref> Maynard died in 1918 in Victoria at the age of 84. She is buried in [[Ross Bay Cemetery]].<ref name="Wilks page 13"/> |
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=== Statue Photography === |
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Referred to by Maynard as “Statuary from Life”, statuette portraiture was popular in the 1880’s.[22] To make this kind of work, Maynard would have covered the sitter in a white powder, taken the photo, then scraped the negative to leave only the often armless bust behind.[23] This concept was tied to Victorian ideas of spirituality and mortality, with her works in this style being produced in 1884, the year after her youngest daughter’s death.[24] Sitters for this style of photo were children, who posed in ways that invoked grief and melancholy.[25]These children depicted in these photos were often cut and pasted into the “Gems” series.[26] |
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=== Criminal Photography === |
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Despite being illegal until 1898, the Victoria Police Department began using [[Mug shot|mugshots]] in 1888.[27] In 1897, Maynard took a contract to do these criminal photographs, until stopping in 1903.[28] Some of her earliest attempts still carried traces of her studio practice; the photos showed a sense of character and used the studio lighting schema.[29] The mugshot taken of Belle Adams shows her as beautifully dressed and well lit.[31] Despite this, Maynard’s photographs still kept to the established standards of the process; showing the front and side view of the person’s upper body and face.[32] In the later years of the contract, She updated her technique taking the individual’s photograph beside a mirror, in order to capture both views on the same negative.[33] |
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== Exhibitions == |
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An exhibition of Hannah Maynard’s photographs was shown in an exhibit curated in 1992 by Petra Rigby-Watson at the Libby Leshgold Gallery (formerly the Charles H. Scott Gallery) in [[Vancouver]], British Columbia.[34] the gallery sits on the [[Emily Carr University of Art and Design]] campus. The show includes a number of Maynard’s photographs, spanning her portraiture, multiple exposure, and statuesque works.[35] |
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==Reception and Legacy== |
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=== Reception === |
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The reception to Hannah Maynard’s photographs has been mixed since the opening of her studio way back in 1862. In 1878, the ''Weekly Pacific Tribune'' wrote: |
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"Mrs. Maynard is said to be the leading photographer of Victoria. She has a neat and commodious gallery on Douglas Street, in front of which may be seen hundreds of specimens of her skill and handiwork. She not only attends to the taking of pictures and retouching, as well as the management of her business and household, but is said to go out into the field and travel, taking stereo-scopic and other views of buildings, ships and groups in any part of the Province. She furnished an example of what women can do when there is necessity or ambition or the incentive."[36] |
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While an article from ''The Victoria Colonist'' suggests that the people of the city may have boycotted the Maynard studio, until they could accept a female photographer working in the city.[37] In 1879, the ''St. Louis Practical Photographer'' commented: |
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"Mrs. Maynard is one of the most industrious and persevering ladies we have in our business. She stops at no impediment in our Art, but is a regular go-ahead, even beating our Yankee girls two to one in photography." |
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A later issue of the ''St. Louis Practical Photographer'', from 1885, characterized Hannah as “an artist of rare merit and great perseverance.”[38] There was however, a resurgence in critique of Hannah’s work in the 1970s, with one writer calling it out on its “freakish, goofy, and often grotesque quality.”[39] |
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=== Comparisons === |
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==== Hannah Höch ==== |
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''' ''' [[Hannah Höch]] (1889 – 1978) was a [[Dada|Dadaist]] artist working in [[Berlin]] in photomontage, among other art forms. Despite living thirty years later, and across an ocean from Maynard, Höch’s complex arrangements of cut photos do bear a resemblance to Maynard’s “Gems.”[40] Some have also referred to Maynard as a precursor to both Dada and [[Surrealism]].[41] Both artists used photography to tackle issues of social standards and identity in times where the role of women was a limiting factor.[42] In contrast, Höch used mass media produced images to discuss politics and the subconscious[43], Maynard used self portraits and those of family members to craft images that reflected on grief and the progression of life.[44] |
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==== Elise Livernois ==== |
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''' ''' A contemporary of Maynard, the career of '''[[Élise L'Heureux|Elise (L'Heureux) Livernois]]''' had many similarities to that of Hannah. Both were the first photographers in their respective families.[45] They both also established portraiture studios, learned the trade from local businesspeople during their husband’s absence at the gold rush, taught their husbands photography, worked in both daguerreotypes and wet plate processes, settled in small but economically significant cities, and took portraits of the local sailor and soldier population.[46] Maynard and Livernois also had male assistants or family members that worked on government commission photographs, and had daughters that may have one day taken over the family business, if not for their deaths.[47] One key difference is that Livernois disappeared from public perception after her business was renamed after her husband, where Maynard made it very clear as to who the studio belonged to.[48] |
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'''Frederick Dally''' |
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Another contemporary of Maynard, [[Frederick Dally]] worked as a photographer in Victoria from 1866 until 1870.[49] Like Maynard, he worked in portraiture, but also traveled with the colonial governor taking photos and collecting artifacts.[50] Dally also photographed the gold rush at [[Barkerville]], British Columbia.[51] his works were reproduced in British and Canadian presses, and her gifted an album of his works to [[Queen Victoria]] in 1883.[52] After his departure from Victoria in 1870, the Maynard studio acquired his prints and began selling them.[53] |
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=== Legacy === |
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Hannah Maynard formally retired from photography in 1912, the fiftieth anniversary of her studio’s opening.[54] She sold the studio, and subsequently died in 1918, at age 84.[55] |
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A play by [[Janet Munsil]] based on the life of Maynard, ''Be Still'', premiered at [[Richmond, British Columbia|Richmond]]'s Gateway Theatre on March 1, 2001 and opened at Victoria's Belfry Theatre on March 14 of the same year.[56] [[Elizabeth Lazebnik]] subsequently adapted the play into the film [[Be Still (film)|''Be Still'']], in which Maynard was portrayed by [[Piercey Dalton]].[57] Lazebnik also previously made a short film about Maynard, ''The Multiple Selves of Hannah Maynard'', in 2005.[58] |
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---- |
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A play by [[Janet Munsil]] based on the life of Maynard, ''Be Still'', premiered at [[Richmond, British Columbia|Richmond]]'s Gateway Theatre on March 1, 2001 and opened at Victoria's Belfry Theatre on March 14 of the same year.<ref name="Camera Workers"/> [[Elizabeth Lazebnik]] subsequently adapted the play into the film ''[[Be Still (film)|Be Still]]'', in which Maynard was portrayed by [[Piercey Dalton]].<ref name="Devlin">Mike Devlin, [https://www.timescolonist.com/entertainment/film-about-victoria-photographer-premieres-at-vancouver-film-festival-4692428 "Film about Victoria photographer premieres at Vancouver Film Festival"]. ''[[Victoria Times-Colonist]]'', September 29, 2021.</ref> Lazebnik also previously made a short film about Maynard, ''The Multiple Selves of Hannah Maynard'', in 2005.<ref name="Devlin"/> |
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==Gallery== |
==Gallery== |
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==References== |
==References== |
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{{reflist|20em}} |
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[1] Monique L. Johnson (2017) Montage and Multiples in Hannah Maynard’s Self-Portraits, History of Photography, 41:2, 160. DOI: 10.1080/03087298.2017.1317461 |
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[2] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 85. |
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[3] Monique L. Johnson (2017) Montage and Multiples in Hannah Maynard’s Self-Portraits, History of Photography, 41:2, 160. DOI: 10.1080/03087298.2017.1317461 |
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[4] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 95. |
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[5] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 86. |
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[6] Claire Weissman Wilks, ''The Magic Box: The Eccentric Genius of Hannah Maynard'', Toronto: Exile Editions, 1980. 20. |
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[7] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 101. |
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[8] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 85. |
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[9] Monique L. Johnson (2017) Montage and Multiples in Hannah Maynard’s Self-Portraits, History of Photography, 41:2, 161. DOI: 10.1080/03087298.2017.1317461 |
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[10] Jennifer E. Salahub, "A Textile Narrative Through the Eye of a Camera/Through the Eye of a Needle" (2006), Textile Society of America Symposium Proceedings, 256. <nowiki>https://digitalcommons.unl.edu/tsaconf/327</nowiki> |
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[11] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 103. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[12] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 103. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[13] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 104. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[14] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 103. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[15] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 103. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[16] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 104. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[17] Petra Rigby-Watson, "Hannah Maynard’s Multiple Exposures." History of Photography 20, no. 2 (1996): 155. |
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[18] Petra Rigby-Watson, "Hannah Maynard’s Multiple Exposures." History of Photography 20, no. 2 (1996): 155. |
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[19] Petra Rigby-Watson, "Hannah Maynard’s Multiple Exposures." History of Photography 20, no. 2 (1996): 156. |
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[20] Petra Rigby-Watson, "Hannah Maynard’s Multiple Exposures." History of Photography 20, no. 2 (1996): 156. |
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[21] Petra Rigby-Watson, "Hannah Maynard’s Multiple Exposures." History of Photography 20, no. 2 (1996): 156. |
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[22] Matt Bennett, "Totem and Tableaux: The Elegiac Photography of Hannah Maynard," ''The International Journal of Literary Humanities'' 14, no. 4 (2016): 57, doi:<nowiki>https://doi.org/10.18848/2327-7912/CGP/v14i04/55-63</nowiki>. <nowiki>https://www.proquest.com/scholarly-journals/totem-tableaux-elegiac-photography-hannah-maynard/docview/2713895253/se-2</nowiki> |
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[23] Matt Bennett, "Totem and Tableaux: The Elegiac Photography of Hannah Maynard," ''The International Journal of Literary Humanities'' 14, no. 4 (2016): 57-58, doi:<nowiki>https://doi.org/10.18848/2327-7912/CGP/v14i04/55-63</nowiki>. <nowiki>https://www.proquest.com/scholarly-journals/totem-tableaux-elegiac-photography-hannah-maynard/docview/2713895253/se-2</nowiki> |
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[24] Matt Bennett, "Totem and Tableaux: The Elegiac Photography of Hannah Maynard," ''The International Journal of Literary Humanities'' 14, no. 4 (2016): 58, doi:<nowiki>https://doi.org/10.18848/2327-7912/CGP/v14i04/55-63</nowiki>. <nowiki>https://www.proquest.com/scholarly-journals/totem-tableaux-elegiac-photography-hannah-maynard/docview/2713895253/se-2</nowiki> |
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[25] Matt Bennett, "Totem and Tableaux: The Elegiac Photography of Hannah Maynard," ''The International Journal of Literary Humanities'' 14, no. 4 (2016): 58, doi:<nowiki>https://doi.org/10.18848/2327-7912/CGP/v14i04/55-63</nowiki>. <nowiki>https://www.proquest.com/scholarly-journals/totem-tableaux-elegiac-photography-hannah-maynard/docview/2713895253/se-2</nowiki> |
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[26] Matt Bennett, "Totem and Tableaux: The Elegiac Photography of Hannah Maynard," ''The International Journal of Literary Humanities'' 14, no. 4 (2016): 58, doi:<nowiki>https://doi.org/10.18848/2327-7912/CGP/v14i04/55-63</nowiki>. <nowiki>https://www.proquest.com/scholarly-journals/totem-tableaux-elegiac-photography-hannah-maynard/docview/2713895253/se-2</nowiki> |
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[27] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 109. |
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[28] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 108. |
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[29] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 109. |
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[30] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 109. |
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[31] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 109. |
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[32] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 109. |
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[33] Petra Rigby-Watson, the photographs of Hannah Maynard: 19th century portraits. Vancouver: Charles H Scott Gallery, 1992. Published in conjunction with an exhibition of the same title, organized by and presented at the Charles H Scott Gallery. |
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[34] Petra Rigby-Watson, the photographs of Hannah Maynard: 19th century portraits. Vancouver: Charles H Scott Gallery, 1992. Published in conjunction with an exhibition of the same title, organized by and presented at the Charles H Scott Gallery. |
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[35] Monique L. Johnson (2017) Montage and Multiples in Hannah Maynard’s Self-Portraits, History of Photography, 41:2, 161. DOI: 10.1080/03087298.2017.1317461 |
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[36] Monique L. Johnson (2017) Montage and Multiples in Hannah Maynard’s Self-Portraits, History of Photography, 41:2, 161. DOI: 10.1080/03087298.2017.1317461 |
|||
[37] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 108. |
|||
[38] Jennifer E. Salahub, "A Textile Narrative Through the Eye of a Camera/Through the Eye of a Needle" (2006), Textile Society of America Symposium Proceedings, 252. <nowiki>https://digitalcommons.unl.edu/tsaconf/327</nowiki> |
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[39] Mary Allen. (2009) Situating Hannah Maynard: A Comparison with Hannah Höch, History of Photography, 33:3, 239. DOI: 10.1080/03087290802582897 <nowiki>https://doi.org/10.1080/03087290802582897</nowiki> |
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[40] Mary Allen. (2009) Situating Hannah Maynard: A Comparison with Hannah Höch, History of Photography, 33:3, 246. DOI: 10.1080/03087290802582897 <nowiki>https://doi.org/10.1080/03087290802582897</nowiki> |
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[41] Mary Allen. (2009) Situating Hannah Maynard: A Comparison with Hannah Höch, History of Photography, 33:3, 248. DOI: 10.1080/03087290802582897 <nowiki>https://doi.org/10.1080/03087290802582897</nowiki> |
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[42] Mary Allen. (2009) Situating Hannah Maynard: A Comparison with Hannah Höch, History of Photography, 33:3, 248. DOI: 10.1080/03087290802582897 <nowiki>https://doi.org/10.1080/03087290802582897</nowiki> |
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[43] Mary Allen. (2009) Situating Hannah Maynard: A Comparison with Hannah Höch, History of Photography, 33:3, 248. DOI: 10.1080/03087290802582897 <nowiki>https://doi.org/10.1080/03087290802582897</nowiki> |
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[44] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 85. |
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[45] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 85-86. |
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[46] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 86. |
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[47] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 86. |
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[48] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 92. |
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[49] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 92. |
|||
[50] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 92. |
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[51] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 92. |
|||
[52] Colleen Skidmore, “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', Vancouver;Toronto;: UBC Press, 2022, 92. |
|||
[53] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 116. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[54] Anne Maxwell, “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 116. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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[55] David Mattison, "Maynard, Hannah Hatherly". ''Camera Workers, The British Columbia Alaska & Yukon Photographic Directory, 1858-1950''. Archived from the original on 29 June 2016. Retrieved 15 December 2019 |
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[56] Mike Devlin, "Film about Victoria photographer premieres at Vancouver Film Festival". [[Victoria Times-Colonist|''Victoria Times-Colonist'']], September 29, 2021 |
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[57] Mike Devlin, "Film about Victoria photographer premieres at Vancouver Film Festival". [[Victoria Times-Colonist|''Victoria Times-Colonist'']], September 29, 2021 |
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==Sources== |
==Sources== |
||
*{{Cite book|last1=Palmquist|first1=Peter E.|last2=Kailbourn|first2=Thomas R.|title=Pioneer Photographers of the Far West: A Biographical Dictionary 1840–1865|publisher=Stanford University Press|location=Stanford, California|date=2000|isbn=0-8047-3883-1}} |
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*{{Cite book|last=Watson|first=Petra Rigby|title=The Photographs of Hannah Maynard: 19th Century Portraits|publisher=Charles H. Scott Gallery, Emily Carr College of Art & Design|type=exhibition catalogue|date=June 1992}} |
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* Allen, Mary. (2009) Situating Hannah Maynard: A Comparison with Hannah Höch, History of Photography, 33:3. 237-248. DOI: 10.1080/03087290802582897 <nowiki>https://doi.org/10.1080/03087290802582897</nowiki> |
|||
*{{Cite book|last=Wilks|first=Claire Weissman|title=The Magic Box: The Eccentric Genius of Hannah Maynard|publisher=Exile Editions Limited|location=Toronto|date=1980|isbn=0-920428-34-7}} |
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* Bennett, Matt. "Totem and Tableaux: The Elegiac Photography of Hannah Maynard." ''The International Journal of Literary Humanities'' 14, no. 4 (2016): 55-63. doi:<nowiki>https://doi.org/10.18848/2327-7912/CGP/v14i04/55-63</nowiki>. <nowiki>https://www.proquest.com/scholarly-journals/totem-tableaux-elegiac-photography-hannah-maynard/docview/2713895253/se-2</nowiki> |
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*{{Cite book|last=Williams|first=Carol J.|title=Framing the West: Race, Gender, and the Photographic Frontier in the Pacific Northwest|publisher=Oxford University Press|location=New York|date=2003|isbn=0-19-514630-1}} |
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* Johnson, Monique L. (2017) Montage and Multiples in Hannah Maynard’s Self-Portraits, History of Photography, 41:2. 159-170. DOI: 10.1080/03087298.2017.1317461 |
|||
* Maxwell, Anne. “The Imaginative World of Hannah Maynard” ''in Women Photographers of the Pacific World, 1857–1930'', 94-116. <nowiki>https://www-taylorfrancis-com.ezproxy.uleth.ca/books/mono/10.4324/9780429295423/women-photographers-pacific-world-1857%E2%80%931930-anne-maxwell</nowiki> |
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* Rigby-Watson, Petra. "Hannah Maynard’s Multiple Exposures." History of Photography 20, no. 2 (1996): 155-157. |
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* Rigby-Watson, Petra. the photographs of Hannah Maynard: 19th century portraits. Vancouver: Charles H Scott Gallery, 1992. Published in conjunction with an exhibition of the same title, organized by and presented at the Charles H Scott Gallery. |
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* Salahub, Jennifer E., "A Textile Narrative Through the Eye of a Camera/Through the Eye of a Needle" (2006). Textile Society of America Symposium Proceedings. 327. <nowiki>https://digitalcommons.unl.edu/tsaconf/327</nowiki> |
|||
* Skidmore, Colleen. “The Maynard Studio: 1862-1912” in ''Rare Merit: Women in Photography in Canada, 1840-1940'', 84-115. Vancouver;Toronto;: UBC Press, 2022. |
|||
* Wilks, Claire Weissman. ''The Magic Box: The Eccentric Genius of Hannah Maynard''. Toronto: Exile Editions, 1980. |
|||
==External links== |
==External links== |
||
*[https://search-bcarchives.royalbcmuseum.bc.ca/maynard-family-fonds Maynard family collection] at the British Columbia Archives |
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*[https://commons.wikimedia.org/wiki/Category:Hannah_Hatherly_Maynard Hannah Hatherly Maynard] photographs at Wikimedia Commons |
*[https://commons.wikimedia.org/wiki/Category:Hannah_Hatherly_Maynard Hannah Hatherly Maynard] photographs at Wikimedia Commons |
||
*[https://www.gallery.ca/collection/artist/hannah-maynard Hannah Maynard] at the National Gallery of Canada |
*[https://www.gallery.ca/collection/artist/hannah-maynard Hannah Maynard] at the National Gallery of Canada |
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Revision as of 02:12, 26 March 2024
Hannah Maynard | |
|---|---|
 | |
| Born | Hannah Hatherly January 17, 1834 Bude, Cornwall, England |
| Died | May 15, 1918 (aged 84) Victoria, British Columbia, Canada |
| Known for | Photographer |
| Spouse | Richard Maynard |
Hannah Hatherly Maynard (Bude, 1834 – Victoria, 1918)[1] was a Canadian photographer best known for her portrait work and experimental photography involving photomontage and multiple exposures. She also photographed people using techniques that made them appear as statuary: on columns or posing as if they were made of stone.
Early life and career
She was born in 1834 as Hannah Hatherly, in Bude, Cornwall. Hatherly married in 1852 Richard Maynard, an apprentice boot-maker, and in the same year they emigrated to Bowmanville in Canada West (present-day Ontario), where four of their five children were born.[2] In 1858, Richard joined the exodus of gold-seekers on the Fraser River in British Columbia, and his venture appears to have been profitable.[2] While her husband was out west, Maynard learned the basics of photography, most likely from R & H O'Hara Photographers, in Bowmanville. After selling the boot store, in 1862 the family moved to Victoria on the Colony of Vancouver Island. Richard soon left for the Stikine River to take up placer mining, and it is believed that in 1862 Hannah opened up her first photographic studio, Mrs. R. Maynard's Photographic Gallery.[3] Upon his return home in 1863,[3] Richard found his wife successfully entrenched as a photographer, and by 1864 Hannah had taught her husband the principles of photography while he operated a second boot store.[3][4]
In the ensuing years, Hannah and Richard had contrasting photographic specialties. Hannah was best known for her portrait work and at the same time managed darkroom affairs and studio promotion, while Richard focused almost exclusively on outdoor photography.[5] From 1874 onwards, the couple operated their photographic studio and shoe store in one building.[6] The couple frequently traveled together, in 1875 to purchase photographic equipment in San Francisco, in 1879 on a pleasure cruise around Vancouver Island, and to Banff in the late 1880s.[1][7] Hannah also made a solo trip to the Queen Charlotte Islands sometime in the same decade.[3] While they published their photographs under separate imprints, it is sometimes unclear in the case of landscape views whether Hannah or Richard was the photographer.[3]
Portraiture and experimental photography
Maynard's portrait work encompassed several different formats following the fashions of the day, cartes-de-visite in the 1860s, cabinet cards in the following decade, as well as larger-sized prints.[8] The Maynard studio is known to have produced forty-three cartes-de-visite of native people, often Victoria street vendors.[8] Maynard was a master of lighting technique, and she was one of the early adopters of line-lit photography to highlight facial features.[9] Her backgrounds were often highly ornamental, using painted backgrounds and elaborate domestic interiors and props.[8]
Starting about 1880, Maynard began to experiment with photomontage in her Gems of British Columbia series which she created each year between 1881 and 1895.[nb 1] Conceived as an annual greeting card to be sent out on New Years to all the mothers of children she had photographed in the preceding year, it was very popular. She cut out the outline of the photograph of each baby or child, and then mounted the images on a pane of window glass and re-photographed the whole.[10][11] She began to incorporate the montages of previous years in symbolist patterns, resulting in compositions that included up to 22,000 individual photographs.[12] Her Gems of 1885 was published and praised by the St. Louis and Canadian Photographer in 1886, bringing Maynard a measure of recognition throughout North America.[13][14]
Beginning in 1883 Maynard was struck by personal tragedy, with the death of her 16-year-old daughter Lillian of typhoid fever, followed in later years by another daughter Emma and daughter-in-law Adelaide, and some of her photographs began to take on the aspect of a memorial to the departed.[15] It was also in this period that she took an interest in seances and Spiritualism.[16][17] She began in the 1880s to create a type of photograph described by her as "Living Statuary" or "Statuary from Life", the sitter often appearing as a bust on a pedestal.[18][19] Her experimentation developed further into the realm of multiple exposure, and some photographs show as many as four or five likenesses of Maynard, often engaged in different tasks, or in one notable image, holding a single garland of flowers.[15][20] She also often included members of her close family in these photographs, such as in Hannah Maynard and her grandson, Maynard McDonald, in a tableau vivant composite photo, c.1893.[6] A selection of her double and multiple exposure photographs were published in the St. Louis and Canadian Photographer in 1894.[21] Another difficult technique that Maynard pursued was that of bas-relief, which involved the embossing of a photograph.[22] Around 1897, Maynard discontinued her investigations of trick photography.[23]
Later years and legacy
Between 1897 and 1902, while continuing her studio portraiture, Maynard was the official photographer of the Victoria Police Department, producing mug shots as required [24] as well as portraits of officers.[6] She also photographed for the government in other capacities and worked as an ethnographic photographer.[6] In 1907 her husband Richard died, and in 1912 she retired, selling her photographic equipment to a local Chinese photographer.[1][23] She summarized her achievement by stating that "I think I can say with confidence that we photographed everyone in the town at one time or another."[25] Maynard died in 1918 in Victoria at the age of 84. She is buried in Ross Bay Cemetery.[23]
A play by Janet Munsil based on the life of Maynard, Be Still, premiered at Richmond's Gateway Theatre on March 1, 2001 and opened at Victoria's Belfry Theatre on March 14 of the same year.[1] Elizabeth Lazebnik subsequently adapted the play into the film Be Still, in which Maynard was portrayed by Piercey Dalton.[26] Lazebnik also previously made a short film about Maynard, The Multiple Selves of Hannah Maynard, in 2005.[26]
Gallery
-
Verso of carte-de-visite showing studio logo of Hannah Maynard. ca. 1868-1878 -
Lady Amelia Connolly Douglas. 1862 (wife of Governor James Douglas) -
Captain Jack and his wife. c. 1868 (Kwakwakaʼwakw couple) -
Laura Lillian Maynard. 1874 -
John Wallace Crawford. c. 1878 -
![Bust of a young girl. c. 1882[27]](//upload.wikimedia.org/wikipedia/commons/thumb/6/68/Bust_of_a_yound_girl.jpg/100px-Bust_of_a_yound_girl.jpg)
Bust of a young girl. c. 1882[27] -
Girl holding a bird. Living Statuary series. 1884 -
Gems of British Columbia. 1885 -
Ah Foo. c. 1885 -
Unidentified woman. Example of line-lit photography. c. 1890 -
Hannah Maynard cycling. c. 1892 -
Richard Maynard. 1890s -
Self-portrait with multiple exposure. c. 1893 -
Likenesses of Hannah Maynard with garland. c. 1895 -
Belle Adams (Victoria Police Department photo). 1898
![Bust of a young girl. c. 1882[27]](/wiki/File:Bust_of_a_yound_girl.jpg)
Notes
- ^ Wilks (1980) gives the last year for The Gems as 1895, Williams (2003) as 1898.
References
- ^ a b c d Mattison, David. "Maynard, Hannah Hatherly". Camera Workers, The British Columbia Alaska & Yukon Photographic Directory, 1858–1950. Archived from the original on 29 June 2016. Retrieved 15 December 2019.
- ^ a b Watson 1992, p. 1.
- ^ a b c d e Wilks 1980, p. 5.
- ^ Palmquist & Kailbourn 2000, p. 387.
- ^ Williams 2003, p. 64.
- ^ a b c d Bassnett, Sarah; Parsons, Sarah (2023). Photography in Canada, 1839–1989: An Illustrated History. Toronto: Art Canada Institute. ISBN 978-1-4871-0309-5.
{{cite book}}: CS1 maint: multiple names: authors list (link) - ^ Wilks 1980, pp. 5–7.
- ^ a b c Watson 1992, pp. 2–3.
- ^ Wilks 1980, p. 119.
- ^ Wilks 1980, pp. 9, 13.
- ^ Williams 2003, pp. 126–127.
- ^ Wilks 1980, pp. 10, 31.
- ^ Williams 2003, p. 129.
- ^ Wilks 1980, p. 9.
- ^ a b Watson 1992, pp. 6–7.
- ^ Wilks 1980, p. 11.
- ^ Watson 1992, p. 7.
- ^ Wilks 1980, pp. 10–11, 35.
- ^ Watson 1992, p. 6.
- ^ Wilks 1980, pp. 10–11.
- ^ Wilks 1980, p. 12.
- ^ Wilks 1980, p. 124.
- ^ a b c Wilks 1980, p. 13.
- ^ Wilks 1980, p. 113.
- ^ Victoria Daily Colonist, September 29, 1912. Cited in Watson, 1992.
- ^ a b Mike Devlin, "Film about Victoria photographer premieres at Vancouver Film Festival". Victoria Times-Colonist, September 29, 2021.
- ^ Wilks 1980, p. 35.
Sources
- Palmquist, Peter E.; Kailbourn, Thomas R. (2000). Pioneer Photographers of the Far West: A Biographical Dictionary 1840–1865. Stanford, California: Stanford University Press. ISBN 0-8047-3883-1.
- Watson, Petra Rigby (June 1992). The Photographs of Hannah Maynard: 19th Century Portraits (exhibition catalogue). Charles H. Scott Gallery, Emily Carr College of Art & Design.
- Wilks, Claire Weissman (1980). The Magic Box: The Eccentric Genius of Hannah Maynard. Toronto: Exile Editions Limited. ISBN 0-920428-34-7.
- Williams, Carol J. (2003). Framing the West: Race, Gender, and the Photographic Frontier in the Pacific Northwest. New York: Oxford University Press. ISBN 0-19-514630-1.
External links
- Maynard family collection at the British Columbia Archives
- Hannah Hatherly Maynard photographs at Wikimedia Commons
- Hannah Maynard at the National Gallery of Canada
- Hannah Hatherly Maynard at the Canadian Women Artists History Database
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