ABSTRACT
This chapter investigates the terms of that sleep and awakening, interpreting Hawarden's photographs as images that lucidly articulate the gendered terms of her silence. Photographer Julia Margaret Cameron, also an aristocratic Victorian British mother, refused to be mistaken for a woman creating a family album. The chapter investigates the terms of Cameron's relationship to male artists as a way to unpack the photographs she created. The artist positioning himself or herself according to widely accepted contemporary myths is a practice hardly exclusive to Julia Margaret Cameron and Lady Clementina Hawarden. As an aristocratic woman in Victorian England, a woman who went through pregnancies while creating her photographic oeuvre, Hawarden was very confined in her sphere of power. The similarity between Clementina Hawarden and Julia Margaret Cameron does not extend far beyond their contemporaneity, their privileged social status, and their use of cultural myth to frame their production of photographic oeuvres.
