Portret van een lachend meisje, Edith Abadam (?) by John Jabez Edwin Mayall

Portret van een lachend meisje, Edith Abadam (?) c. 1850 - 1865

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photography

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portrait

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photography

Dimensions: height 88 mm, width 67 mm

Copyright: Rijks Museum: Open Domain

Editor: Here we have a photograph by John Jabez Edwin Mayall, dating back to somewhere between 1850 and 1865. It’s called "Portret van een lachend meisje, Edith Abadam (?)" It’s a darling image of a smiling girl, captured in an oval frame. I’m immediately struck by how genuinely happy she looks. What stands out to you in this piece? Curator: That’s a keen observation. Considering the historical context, portrait photography at this time was a privilege usually reserved for the upper classes, but the smile complicates the analysis, doesn't it? In a society marked by rigid social norms and class divisions, what could this unreserved joy signify? It certainly speaks of an intimacy and agency often overlooked in representations of women and girls in the 19th century. Editor: So, you're suggesting that her smile might be a quiet act of defiance or, at the very least, an assertion of her own personality? Curator: Precisely. Consider also, who was the artist Mayall? To whom did he cater? The question mark in the title after “Edith Abadam (?)” is significant. The potential misidentification suggests that even names and identities, particularly of women and girls, can become fluid and uncertain within the currents of history. This photograph can serve as a focal point for exploring larger questions of identity, representation, and historical erasure. Editor: I hadn't thought of it that way. I was just focusing on the sweetness of the image, but now I see so much more depth and complexity. Curator: Art invites us to challenge established narratives and engage with alternative perspectives. Each time we encounter a work like this, we’re presented with an opportunity to re-examine our assumptions about the past and its echoes in the present. Editor: This has completely changed how I view portraiture of this period! It’s much more dynamic than I initially believed. Curator: Indeed. And with that, perhaps we can each continue to view, critique, and celebrate the diverse tapestry of humanity reflected in art history.

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