Mrs. Marian Murray, Lady Stair 1843 - 1847

Editor: This is "Mrs. Marian Murray, Lady Stair," taken between 1843 and 1847 by Hill and Adamson. It’s an albumen print photograph. The woman’s expression is striking; there’s almost a defiance in her eyes, despite the very formal portrait setting. How do you read her stance, the way she occupies space in this image? Curator: Her stance certainly speaks volumes. This photograph comes from a period where photographic portraiture was largely reserved for the upper echelons of society. What's powerful here is considering what it meant for a woman, even one of Lady Stair's status, to have her image captured, to enter into a realm of visibility and potential agency. Consider how women were often represented passively in paintings. Editor: That’s interesting. It sounds like photography became a new arena for visibility? Curator: Precisely. And visibility, of course, is inherently tied to power and representation. The very act of choosing how to present oneself before the camera challenged traditional modes of representation. Who controls the narrative and the image becomes central. Also, in the context of Victorian Scotland, notions of propriety and gender roles were strictly defined, wouldn't you agree? Editor: Absolutely. What might this have meant for Lady Stair, participating in this new medium? Curator: Well, on one level, it's aligning herself with modernity and technology. But on another, she’s inserting herself into a visual discourse, contributing to and shaping a conversation about female identity. Think about the weight of her gown and shawl – are these markers of status or confinement? Or, perhaps, can they be both? Editor: That makes me consider the duality of representation, and how one image can reflect complex social realities. Thanks! Curator: It goes to show how much early photography allows us to discuss intersectionality. This medium holds space for status and constraint, representation and the subversion of power all in one frame.