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Gallery of Beauties The Nymphenburg Palace seen from its park. The Gallery of Beauties (German: Schönheitengalerie) is a collection of 38 portraits of the most beautiful women from the nobility and bourgeoisie of Munich, Germany, gathered by King Ludwig I of Bavaria in the south pavilion of his Nymphenburg Palace. [1]
Barnum also produced a booklet about another of his Circassians, Zoe Meleke, who was portrayed as an ideally beautiful and refined woman who had escaped a life of sexual slavery. The portrayal of a white woman as a rescued slave at the time of the American Civil War played on the racial connotations of slavery at the time. It has been argued ...
Those white “reel” discs held dozens of images that also could appear in 3D, scenes of Yosemite or Batman or Mickey Mouse. But those full-color moments felt more like watching a freeze-frame ...
Her images of women are decidedly softer than those of men. With less dramatic lighting and a more typical distance between the sitter and the camera, these images are less dynamic and more conventional. [8]: 175 Cameron almost exclusively photographed younger women, never making a portrait even of her neighbour and good friend Emily Tennyson.
Sarah Baartman (Afrikaans: [ˈsɑːra ˈbɑːrtman]; c. 1789 – 29 December 1815), also spelled Sara, sometimes in the diminutive form Saartje (Afrikaans pronunciation:), or Saartjie, and Bartman, Bartmann, was a Xhosa-Khoekhoe woman who was exhibited as a freak show attraction in 19th-century Europe under the name Hottentot Venus, a name that was later attributed to at least one other woman ...
Image credits: Photoglob Zürich As evident from Niépce's and Maxwell's experiments, and as photographic process historian Mark Osterman told Bored Panda, the processes behind colored photographs ...
Portrait d'une femme noire, 1800, Marie-Guillemine Benoist, Louvre; Dr. Susan Waller, "Marie-Guillemine Benoist, Portrait of Madeleine," in Smarthistory, September 26, 2018. James Smalls, "Slavery is a Woman: 'Race,' Gender, and Visuality in Marie Benoist's Portrait d'une négresse (1800)", Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004)
Women lost the rights to the property they brought into the marriage, even following divorce, not unlike community property; a husband had complete legal control over any income earned by his wife; women were not allowed to open banking accounts; and married women were not able to conclude a contract without her husband's legal approval. These ...