Salted paper print from glass negative with applied color
14.5 x 13.1 cm (5 11/16 x 5 3/16 in.)
David Hunter McAlpin Fund, 1975
Not on view
The mid-nineteenth century saw the simultaneous birth of couture, photography, and modern art. For women of the aristocracy, as well as the aspiring bourgeoisie, the three arts provided a new world of spectatorship and self-satisfaction. Virginia Oldoini, Countess Castiglione, was a voracious client of both couture and photography, acquiring fashion from the new maisons de couture of Worth and Pingat. The altered image further suggests the client's intervention.
La Comtesse de Castiglione; [...]; Robert de Montesquiou; [...]; Madame Walska; [...]; Philip Kaplan
Musée d'Orsay. "La Divine Comtesse: Photographs of the Countess Castiglione," October 11, 1999–January 23, 2000.
Kulturhuset, Stockholm. "Hannah Cullwick, Countess Virginia de Castiglione, Claude Cahun and Cindy Sherman," January 23, 2004–April 18, 2004.
Louisiana Museum of Modern Art. "Hannah Cullwick, Countess Virginia de Castiglione, Claude Cahun and Cindy Sherman," May 6, 2004–August 22, 2004.
Apraxine, Pierre, and Xavier Demange. La Divine Comtesse: Photographs of the Countess de Castiglione. New Haven: The Metropolitan Museum of Art, 2000. no. 29, p. 173, ill. p. 119 (this print).