A new exhibition at the National Portrait Gallery combines the work of Francesca Woodman and Julia Margaret Cameron, two photographers separated by a century - the results are otherworldly
I had thought a show placing work by Julia Margaret Cameron and Francesca Woodman side by side a strange and rather random idea. A century separates these photographers – the former an early pioneer ofloved for her stagey, literary-inspired tableaux; the latter with a cult following for the unabashed exploration of her pre- and post-adolescent body in the early years of the women’s movement.
taken in 1972 when she was 13. She was a prodigy, creating a highly distinctive body of work before her death by suicide, in 1981, aged only 22. Admirably, the NPG doesn’t lean into Woodman’s biography Both women worked within a creative, bohemian milieu. Cameron’s neighbour on the Isle of Wight was Alfred, Lord Tennyson – photographs here include the staging of scenes from his Arthurian poem. Her sitters included the artist Marie Spartali, actress Ellen Terry and Pre-Raphaelite model Julia Jackson .
is arranged thematically, teasing out parallels between the two bodies of work. The weirdest and strongest section explores both women’s interest in the angelic. Besides Cameron’s fantastical arrangements of small children in cupid wings and women in heavenly robes, Woodman’s explorations of the angelic appear particularly dark.
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