The Queen and Prince Consort 1861

Curator: This silver print, a photomontage titled "The Queen and Prince Consort" was created in 1861 by John Jabez Edwin Mayall, and is now held in the collection of The Art Institute of Chicago. Editor: My first impression is of a stilted formality; it's interesting how the very constraints of early photography shape our perception of the subjects' personalities, freezing them in these artificial poses. Curator: Indeed, that is the crux of the early photographic portrait. The composition however shows that Victoria and Albert are at center, formally in their respective roles yet also positioned intimately, emphasizing her status through formal pose. Notice how Mayall employed photomontage, meticulously assembling multiple negatives to achieve the final image. What effects are created for you by the careful construction? Editor: The layered dress becomes quite interesting through Mayall’s work, with horizontal and vertical patterns offering another perspective and dynamic that the queen exudes, along with the contrast from Prince Albert's comparatively simpler form-fitting wear. I wonder about its social significance though—were these widely distributed and how did the public interpret these staged portrayals of their monarchs? What was the influence of the subjects and their cultural era, given royalty and society would often reflect imagery or ideas from paintings of those in charge? Curator: As portraiture, especially in photographs became widely popularized at that point, portraits like this would shape public perception by reinforcing royalty—often hung publicly and mass printed to sway the public opinion by being visible with certain stances and presentations. Think also of court painters, and now court photographers who reinforce royalty through carefully curated formal compositions. Editor: Looking at Victoria's sombre expression against the ornate gown is very engaging; also seeing how this type of portraiture began to shape political imagery through photographs over painted images throughout history. What the formal poses tell and how effective the messages would ultimately become, certainly makes me view this from the present. Curator: Mayall’s use of light and shadow adds another level of engagement as one is able to pick apart different areas of contrast between foreground, subject and background. I’ll be leaving with considering his technique more so, after reflecting over this photomontage today. Editor: Agreed, seeing all those many layers presented, the work provides an insight that history and photographic style really influence how we'll now view society then as they wished to present, as I too begin to think about photography even further.