Clara Pilvois 1862

André-Adolphe-Eugène Disdéri created this photograph of Clara Pilvois sometime in the 19th century using the then-new technology of the carte de visite. Disdéri patented this format in 1854, and it quickly became a popular form of portraiture, especially among the middle classes, who were eager to participate in a culture of image-making and self-representation. Here we see Clara Pilvois in eight different poses, each carefully arranged, hinting at the constructed nature of identity in photography. The carte de visite emerged during a time of significant social change, and Disdéri's work offers a glimpse into the era's evolving notions of class, gender, and selfhood. Note the repetitive poses and the trappings of wealth; together they speak to the sitter's status. But it's also important to remember that portraiture of women was fraught. As John Berger put it, “Men act and women appear.” The woman in the photograph is still, even in multiple. Consider whether she's acting, or appearing. The photograph remains a powerful reminder of the complex interplay between identity, representation, and social context in the 19th century.