The Silver Canvas - Daguerrotype Masterpieces (Art Photography Ebook)

T H E S I L V E R C A N V A S
PLATE 36
UNKNOWN AMERICAN PHOTOGRAPHER
Portrait of Three Women
About 1849
Quarter plate
84-XT.I577-2
THE POWER OF THIS DAGUERREOTYPE comes not only from the way the three figures are so harmoniously grouped, but
from the photographer's keen sensitivity to the subtle effects achieved by combining textures and light. No single detail in
the scene appears to have been left to chance—not the strikingly different hair styles (which seem to have been partially
arranged by the photographer), nor the multiple directions of their glances, nor their uniquely independent stances. By these
means, the artist—as such the daguerreotypist should be called despite remaining unknown—clearly identifies for us the
markedly different personalities of the women, perhaps a mother with her two daughters. They are woven together into a
beautiful, harmonious whole by the rhythmic interlacing of their arms and hands. The three are bound together in an emotional
relationship we are unable to define, in part because each has also been given her own space and independence.
The figure at the left is set against the flutes of the column rising behind her. The central figure is almost solely
restricted to the background, but her finger touching the crest of the chair ties her psychologically to the other two.
The seated body of the third woman claims the corner space. Even though they are firmly settled in their own space, the
dominant rhythm of their hands and arms entwines them, a subtle linking of the group further heightened by the play of
light on the fabric of their gowns. We are first attracted to the plaid stole wrapped around the woman at the left. Its pattern
acts to soften her figure in relation to the architectonic quality of the column, but it also serves as an accent to the lively
surface of the shiny cape worn by the central figure. The bare shoulder of the seated young woman is another strong foil
to the other active areas of light, and the fringe on her sleeve enriches the surface quality of the image. The three women
probably had been informed that dark clothes and plaids were preferable for having one's portrait taken, but it was the maker
who was responsible for the way the different materials were draped and contrasted, and who directed the play of light
that turned the textures and values of each gown into a lustrous setting that creates the uniqueness of these three women.
Despite allowing us to enjoy the sensuous aspects of this portrait, the artist denies us a full understanding of
the group. A sense of mystery exudes from the poses and gestures of the three women. The two side figures extend their
arms toward the center, where one finger of the girl on the left is held by the net-covered hand of her sister on the right.
Immediately beneath this point is an enigmatic assemblage of grapes, sharp-edged leaves, and a basket handle that throws
a strong reflection, as if made of metal. Perhaps this still-life arrangement is intended to unite this group or to give us some
other message, but it remains indecipherable. We are left only to admire the amazing visual effects this daguerreotypist has
achieved and to wonder if the content of the portrait has been raised to a metaphorical level—as if its title should read
"The Three Fates."
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