Andrea Kaston Tange, Macalester College

Collectors relish so-called “hidden mother photographs” as historical oddities.

These 19th-century images contain very young children held still by half-obscured adults who crouch behind chairs or lurk at the margins of pictures, their protective arms stabilizing babies. The heads and shoulders of the adults are sometimes draped in textiles or summarily cut off, or their bodies are partially tucked behind decorative mats that frame the centered child.

The startling realization that Victorian infants were not reclining on cozy blankets but on comfortable laps fuels breathless online attention. Eager resellers of flea-market finds advertise hidden mother photographs using terms like “spooky wonderful,” “cutie creepy” and “bizarre.” Articles about them tend to imply a treasure hunt for hiddenness – for adult knees or noses, poised hands, bosoms, hat brims and skirts.

But this common framing reduces their cultural importance to sensationalism: Look at how kooky our ancestors were!

As someone who has studied the history of these photos, I find myself drawing an unlikely connection between these stiff, sepia portraits and modern candid snapshots of mischievous children delighting their adoring mothers. Both are part of the tradition of sentimental image-making that surrounds the iconic figure of mother and child.

Exposure times in 19th-century photography were very long by current standards – 20 to 60 seconds – which helps explain why trusted adults were needed to soothe infant subjects into the stillness necessary to take a portrait. But this technological limitation doesn’t explain why their mothers were half-erased from these photos, which has led scholars to argue that Victorian women were effaced by their culture, and casual viewers to assume that the photographers who produced these visual gaffes were hilariously bad at their craft.

But my research has shown that Victorian photographers were documenting children at a moment of widespread desire to focus cultural attention – and therefore camera lenses – on childhood as a precious time that ought to be protected. And the partial obfuscation of mothers was not inconsistent with images of beloved children, because to cherish is to hold.

These are, in short, images of care.

Advertisement

Evolving photographic forms

Photography was a new technology in the 19th century. Early photographers coated thin metal plates with light-sensitive material, exposed them behind the camera’s lens and developed the plates through precise chemical processes. Each exposure yielded a unique and unreproducible picture directly on the metal.

The fragile daguerreotypes of the early 1840s launched a period of constant experimentation. Photographers eventually perfected sturdier tintypes – also unreproducible images on metal plates – and later revolutionized the medium with glass negatives that enabled multiple prints of the same image. These prints required special paper made light sensitive with a coating of ammonium chloride stabilized in albumen, or egg white. With this process, photography became widely viable as a profession, a hobby and an art. In the 1880s, at the height of its production, the Dresden Albumenizing Company required 60,000 eggs a day to meet worldwide demand for its high-quality photographic paper.

Comparing an 1860s tintype with an 1890s gelatin silver studio print shows the evolution of photographic processes.

The studio portrait is characterized by crisp focus, strong contrast between lights and darks, beautiful mid-tones to contour the baby’s cheek, and artful studio lighting to capture alert infant eyes and the gleam of a mother’s cuff button. The tintype is its opposite in every aspect: Its flattened quality and narrower tonal range are hallmarks of this less technically advanced photographic process.

But in both portraits, the sturdy hands of the loving mother stabilize the child.

Picturing tender connections

Scholars don’t know who was first to use the term hidden mother, although some think it emerged around 2008. A photography exhibit at the Venice Biennale by Linda Fregni Nagler and a lyric photo essay by Laura Larson, both published in 2013 and titled “Hidden Mother,” cemented the moniker, which ironically erases the children who are the focal point of these portraits.

One baby picture in particular – a tintype from the 1850s – tells a story about the development of photographic technology and its role in documenting the fleeting, tender moments of childhood.

The baby’s softness is enhanced by comparison with her mother’s strong jawline. The child’s contemplative gaze suggests deep comfort, snuggled as she is against her mother’s side. The contrast between soft and sharp focus is not just one of emotion but the effect of the little one’s slight movement during the necessarily long exposure time.

The baby’s placidity is partly attributable to the presence of a third figure in this photo. This child appears to be a twin: One of her tiny hands is covered protectively by another, equally small, at the end of another arm clad in an identical dress with braided trim. Grounded in their mother’s lap, these babies exist in a triangulated embrace that memorializes the intimacy of family connections.

Advertisement

Putting the original mat, with its oval cutout, back on the photo makes the baby seem to float, removing the embraces that support her. It also suggests where the moniker for these images, hidden mother, came from. But hands, bodies and the power of touch are central to such images.

Valuing the mother-child bond

Modern viewers often assume that 19th-century customs consigned mothering to the margins. But I argue that this is a projection of ahistorical ideas.

It is a strikingly modern tendency to celebrate women’s ability to have both children and careers, without accounting for how one person will then manage two full-time jobs. Such celebration obscures the labor and time parenting requires in favor of the platitude that if we do what we love, for those we love, it is not work.

Contemporary biases, I suggest, may hide mothers far more than did 19th-century portrait conventions. These images remind thoughtful viewers that babies are held and nursed, soothed and protected, nurtured and guided into independence not by abstract notions of being the right kind of mother, not by oddities, but by embodied human beings.

The historical phenomenon of hidden mothers might be productively renamed “cherished child photographs.” This label more accurately identifies their child subjects and centers the relationship, the cherishing, that is at their heart. It also offers a fruitful avenue for tender contemplation of mothers, children, and the myriad forms of motherwork and bodies who perform them, on Mother’s Day and beyond.

Andrea Kaston Tange, Professor of English, Macalester College

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Advertisement

STM Daily News is a vibrant news blog dedicated to sharing the brighter side of human experiences. Emphasizing positive, uplifting stories, the site focuses on delivering inspiring, informative, and well-researched content. With a commitment to accurate, fair, and responsible journalism, STM Daily News aims to foster a community of readers passionate about positive change and engaged in meaningful conversations. Join the movement and explore stories that celebrate the positive impacts shaping our world.

Angels Flight, a beloved landmark in the heart of Downtown Los Angeles, has captured the imagination of locals and tourists alike for over a century. This iconic 2 ft 6 in (762 mm) narrow gauge funicular railway has a rich history and has become an integral part of the city’s heritage.

The railway consists of two funicular cars, Olivet and Sinai, which traverse a distance of 298 feet (91 m) and ascend a vertical gain of 96 feet (29 m). Angels Flight has operated on two different sites, with the original location running from 1901 until 1969, when it made way for redevelopment.

Following a fatal accident, the second location opened in 1996, offering a connection between Hill Street and California Plaza. However, it faced multiple closures and safety concerns, leading to a nine-year hiatus before resuming operations in 2010. After further safety enhancements, Angels Flight reopened in 2017, serving as an economic link and a charming mode of transportation for locals and visitors.

Throughout its history, Angels Flight has held a special place in the hearts of Angelenos. It has been both a tourist attraction and a practical means of transportation for workers commuting between the Downtown Historic Core and Bunker Hill. The quaint railway has witnessed the city’s evolution while retaining its nostalgic charm.

The original Angels Flight, built in 1901 by Colonel J. W. Eddy, operated with a good safety record for 68 years. Although it had its share of accidents, it remained a beloved fixture until its closure in 1969. Numerous companies owned and operated the railway during this period, with the city eventually taking control and initiating its dismantling.

Recognizing its historical significance, the Cultural Heritage Board designated Angels Flight as a Los Angeles Historic-Cultural Monument in 1962. This recognition solidified the railway’s place in the city’s collective memory and spurred efforts to preserve its legacy.

Angels Flight holds a unique place in the fabric of Los Angeles, seamlessly blending history, nostalgia, and practicality. Its reopening in recent years has been celebrated as a testament to the city’s commitment to preserving its iconic landmarks. As the cars traverse the short but steep incline, passengers are transported not only in distance but also in time, experiencing a piece of Los Angeles history that continues to captivate and inspire.

If you’re looking for further details about Angel’s Flight, you can visit:https://www.angelsflight.org/

https://en.wikipedia.org/wiki/Angels_Flight

Advertisement

If you have an interest in cities or are just an urbanist, we’ve got you covered. With our Urbanism section, we cover everything from modern and historical stories about the topic. Transportation, infrastructure, architecture, or suburban living, you’ll find it here. Our articles dive deep into the intricacies of urban planning, exploring how cities evolve and adapt to changing demands. Discover the role of green spaces in enhancing urban life and read about innovative solutions to common urban challenges. Whether you’re fascinated by the bustling life of metropolitan areas or the tranquility of well-planned suburbs, our content offers insights and inspiration for everyone curious about urban environments. You’ll learn about cutting-edge developments in sustainable building practices, the latest trends in public policy affecting urban areas, and personal stories from residents who shape the communities they live in. We also discuss the social and economic impacts of urbanization, touching on topics such as gentrification, housing affordability, and the significance of public transportation. With expert analysis and firsthand accounts, our urbanists section is your go-to source for understanding the multifaceted world of urban living.

https://stmdailynews.com/category/the-bridge/urbanism/

CitizenM is a hotel chain that offers affordable luxury for modern travelers and aims to eliminate their shared frustrations.

https://stmdailynews.com/unique-experiences-at-the-citizenm/

Costa Rican contemporary artist Aimée Joaristi, whose expressionistic paintings explore themes of otherness, duality, and identity, is now represented by MIRAME Fine Art. Following the pivotal ‘Cursed Poems’ exhibition at the Calderón Guardia Museum in San José, Joaristi’s influence continues to grow, making her a notable presence in the international art scene.

SAN JOSÉ, Costa Rica (Newswire.com) – Promoting Costa Rica’s rich cultural heritage, MÍRAME Fine Art connects artists with art lovers worldwide. The premier online Costa Rican art gallery, dedicated to promoting the nation’s finest artists, now includes the paintings of Aimée Joaristi.

A Journey Through ‘Cursed Poems’

The Costa Rican art exhibition ‘Cursed Poems’ features over 50 artworks from the past five years, marking a pivotal moment in both Costa Rica’s art scene and Joaristi’s career. The show featured an array of her multidisciplinary works, including painting, installation, photography, and video art. Notable series such as ‘Flowers of Evil’ and ‘Umbrias’ were displayed alongside symbolic installations like ‘The Lighthouse’ and ‘Vertebral,’ many of which had never been seen before in Costa Rica.

Themes and Influences

Born in Havana in 1957 and raised in Spain, Joaristi’s Cuban heritage and connection with nature are central to her artistic practice. Nestled in the lush hills surrounding her studio near San José, she draws inspiration from the Costa Rican landscape, infusing her compositions with raw vitality and organic beauty.

Joaristi’s oeuvre is driven by political consciousness and personal encounters, delving into themes such as the unconscious, the pandemic, transgression, Cuban migration, and female empowerment. She likens painting to attempting to “muddy the unattainable sky of the canvas,” creating a dialogue between her visual artistry and poetic sensibilities.

Significant Works and Style

Advertisement

Characterized by expressionist strokes, Joaristi’s canvases feature dramatic contrasts and pulsating colors, creating depth and visual narratives that reveal intricate details of faces, figures, objects, and architectural outlines. Her work often reflects echoes of nostalgia and wistful memories.

International Recognition

Joaristi is featured in various international public and private collections and her work has been exhibited globally. Notable exhibitions include the Biennial Contemporary Art SACO in Chile, the Bienal de La Habana in Cuba, the Riga International Biennial of Contemporary Art, the Matadero in Madrid, and the University of Anahuac in Mexico City. In 2024, she will participate in the “Blind Date” exhibition in Madrid, curated by Vicente Todolí, former director of the Tate Modern in London.

Discover Costa Rica’s Artistic Talent

As Joaristi continues to make waves in the international art scene, now is the perfect time to invest in her work. Joaristi’s paintings are available to buy online at MÍRAME Fine Art, where you can explore her curated selection. MÍRAME Fine Art also provides an opportunity to discover and buy Costa Rican art online from other talented Costa Rican artists.

Join us in celebrating Aimée Joaristi’s work and be part of the evolving landscape of Costa Rican contemporary art.

Source: MÍRAME Fine Art

Advertisement

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at [insert website URL] and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

and let your entertainment journey begin!