Image: 17.7 x 10.9 cm (6 15/16 x 4 5/16 in.)
Mat: 29.8 x 21.1 cm (11 3/4 x 8 5/16 in.)
Frame: 35.6 x 27.9 cm (14 x 11 in.)
The Galton Archive, University College London, Special Collections.
Not on view
Notorious for his ideas about improving the genetic composition of the human population—a field of study he called “eugenics”—Galton devised the technique of composite portraiture as a tool for visualizing different human “types.” He first applied the method to portraits of convicts to determine whether specific facial features could be associated with distinct types of criminality. He later went on to create composite photographs of other segments of the population whose members were considered feeble or socially inferior, including the mentally ill, tuberculosis patients, and Jews. Later, he turned to the “healthy and talented” classes—Anglican ministers, Westminster schoolboys, doctors, scientists, and Royal Engineers.
This photograph is a part of the Galton Archive, which was deposited at the University College, London by Galton's executors soon after his death in 1911. Additions were made to the archive by his nephew, Edward Galton Wheler-Galton, and from other members of the family.
For more on the history of the Galton archive, see:
The Metropolitan Museum of Art. "Faking It: Manipulated Photography Before Photoshop," October 10, 2012–January 27, 2013.
Earl A. Powell III, National Gallery of Art, Washington D.C. "Faking It: Manipulated Photography Before Photoshop," February 17, 2013–May 5, 2013.
Gary Tinterow, Museum of Fine Arts, Houston. "Faking It: Manipulated Photography Before Photoshop," June 2, 2013–August 25, 2013.
Fineman, Mia. Faking It: Manipulated Photography Before Photoshop. New York: The Metropolitan Museum of Art, 2012. no. 92, pp. 109, 232.