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Photographic Representations of Pacific Peoples

Max Quanchi

Source: Berg Encyclopedia of World Dress and Fashion. Australia, New Zealand, and the Pacific Islands 2010

Encyclopedia entry

The first camera arrived in the Pacific shortly after it was invented in France in 1839, and photographs of Pacific Islanders were taken during several European voyages in the 1840s. Most of these photographs have not survived. Permanent European traders, settlers, and regular visitors increased after the founding of Botany Bay (Sydney) in 1788 and the growth of port towns at Honolulu, Papeete, Levuka, and Apia; and an accessible collection of photographs, many recording the dress and accoutremen

Dress and Art: Western

Sandra L. Rosenbaum

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives 2010

Encyclopedia entry

Images of people wearing clothing create an obvious connection between dress and art. Because relatively few examples of historic garments survive, these images document the history of dress. Historically, those sitting for portraits chose their dress to project a specific image; the artist was responsible for conveying messages encoded in dress, meticulously reproducing them. Ann Rosalind Jones and Peter Stallybrass have commented that Renaissance clothes were perceived as material forms of pers

‘Twisted’ Poses: The Kabuku Aesthetic in Early Edo Genre Painting

John T. Carpenter

Source: Classic and Modern Writings on Fashion 2nd Edition 2009

Book chapter

Kabuki as we know it today – a highly respectable ‘traditional’ theatre with male actors playing established roles in dramas with complex plots – did not emerge until the late seventeenth century. In its earliest manifestation, it was a dance theatre with female performers, whose dances and skits appealed to the warrior elite and commoner alike. The word for Kabuki drama is now properly written with three Chinese characters, ‘song’, ‘dance’, and ‘skill’, but it has a less flattering etymology rel

‘A Dream of Fair Women’: Revival Dress and the Formation of Late Victorian Images of Femininity

Margaret Maynard

Source: Classic and Modern Writings on Fashion 2nd Edition 2009

Book chapter

He shares with Reynolds and Gainsborough the good fortune of having kept alive for us a society of which the fascination is enduring – that limited and privileged society of the eighteenth century, which had realised such a perfect art of living, and with which we can clasp hands across the gulf, as we cannot with the men and women of Charles the Second's time, or even of Queen Anne's.T. H.Ward and W.Roberts, Romney: A Biographical and Critical Essay, London, 1904, vol. 1, p. 78.

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