First Female Photographers in Argentina. 1840-1875
Presentation Type
Presentation
Start Date
8-3-2025 8:40 PM
Description
Carlos G. Vertanessian, Collector and Historian of Photographs of Uruguay and Argentina, Buenos Aires, Argentina
First Female Photographers in Argentina. 1840-1875
The daguerreian period in Argentina remains understudied, particularly involving women's contributions, between 1840 and 1875. My research tries to fill this gap by exploring early female practitioners within the context of contemporary European and American daguerreian artists. Following the daguerreotype’s 1840 arrival to the region, women played a pivotal role in socially adopting this technology as a new way of self-representation. Antonia Brunet de Annat, a French miniature painter, emerges as Argentina’s first female daguerreian artist. Her multifaceted career spanned painting, teaching, and photography, including acquiring a daguerreian studio in 1854 – a very competitive period in the market – when she was a widow and had a daughter to look after. Yet little was known about her life and career until now.
The mid-1850s saw increased photographic activity, driven by foreign artists introducing new technologies and sparking competition. Consequently, galleries hired more employees, including women. My research has identified at least four more professional female photographers active until the mid-1870s, including Javier Monzon's wife, who specialized in portraits of women and children. I have attributed several carte de visite portraits to her and traced her life and contributions.
Optic Views Galleries (1852-1862) often coincided in the same room with photo studios, and served as spaces for female socialization and education, offering portrait services by day and entertainment by night, including paper photography displays. This research brings a more comprehensive understanding of women's contributions to Argentine photography during the daguerreian period. Studying early female daguerreotypists in Argentina and Latin America holds immense significance, uncovering hidden histories and perspectives that challenge dominant photography narratives. By celebrating women’s achievements in the face of adversity, this research enriches our understanding of Latin America’s cultural heritage. Elaborating on early female daguerreotypists inspires a nuanced understanding of the region's cultural landscape, and women’s empowerment. My findings will be published in a 2024 book as part of an ongoing project.
Carlos G. Vertanessian: A collector, researcher, and historian of Photographs of Uruguay and Argentina, from Buenos Aires, Argentina. Authored 3 books, and curated 2 largest public daguerreotype collections. As a board member, received the 2023 Daguerreian Society Fellowship Award.
Relational Format
Conference proceeding
Recommended Citation
Vertanessian, Carlos G., "First Female Photographers in Argentina. 1840-1875" (2025). Women of Photography: A 24-Hour Conference-a-thon Celebrating International Women’s Day 2025. 59.
https://egrove.olemiss.edu/womenofphotography/2025/schedule/59
First Female Photographers in Argentina. 1840-1875
Carlos G. Vertanessian, Collector and Historian of Photographs of Uruguay and Argentina, Buenos Aires, Argentina
First Female Photographers in Argentina. 1840-1875
The daguerreian period in Argentina remains understudied, particularly involving women's contributions, between 1840 and 1875. My research tries to fill this gap by exploring early female practitioners within the context of contemporary European and American daguerreian artists. Following the daguerreotype’s 1840 arrival to the region, women played a pivotal role in socially adopting this technology as a new way of self-representation. Antonia Brunet de Annat, a French miniature painter, emerges as Argentina’s first female daguerreian artist. Her multifaceted career spanned painting, teaching, and photography, including acquiring a daguerreian studio in 1854 – a very competitive period in the market – when she was a widow and had a daughter to look after. Yet little was known about her life and career until now.
The mid-1850s saw increased photographic activity, driven by foreign artists introducing new technologies and sparking competition. Consequently, galleries hired more employees, including women. My research has identified at least four more professional female photographers active until the mid-1870s, including Javier Monzon's wife, who specialized in portraits of women and children. I have attributed several carte de visite portraits to her and traced her life and contributions.
Optic Views Galleries (1852-1862) often coincided in the same room with photo studios, and served as spaces for female socialization and education, offering portrait services by day and entertainment by night, including paper photography displays. This research brings a more comprehensive understanding of women's contributions to Argentine photography during the daguerreian period. Studying early female daguerreotypists in Argentina and Latin America holds immense significance, uncovering hidden histories and perspectives that challenge dominant photography narratives. By celebrating women’s achievements in the face of adversity, this research enriches our understanding of Latin America’s cultural heritage. Elaborating on early female daguerreotypists inspires a nuanced understanding of the region's cultural landscape, and women’s empowerment. My findings will be published in a 2024 book as part of an ongoing project.
Carlos G. Vertanessian: A collector, researcher, and historian of Photographs of Uruguay and Argentina, from Buenos Aires, Argentina. Authored 3 books, and curated 2 largest public daguerreotype collections. As a board member, received the 2023 Daguerreian Society Fellowship Award.
Comments
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