{"id":98863,"date":"2022-09-04T16:29:01","date_gmt":"2022-09-04T16:29:01","guid":{"rendered":"https:\/\/websitedesigns.com.au\/elankanew\/?p=98863"},"modified":"2022-09-04T16:29:01","modified_gmt":"2022-09-04T16:29:01","slug":"portrait-of-a-portraitist-from-the-mists-of-time-by-yomal-senerath-yapa","status":"publish","type":"post","link":"https:\/\/websitedesigns.com.au\/elankanew\/portrait-of-a-portraitist-from-the-mists-of-time-by-yomal-senerath-yapa\/","title":{"rendered":"Portrait of a portraitist from the mists of time-By Yomal Senerath-Yapa"},"content":{"rendered":"

Portrait of a portraitist from the mists of time-By Yomal Senerath-Yapa<\/span><\/span><\/h2>\n

\"St<\/p>\n

Source:<\/span><\/strong>Sundaytimes<\/a><\/span><\/p>\n

A new film, \u2018From Isle of Wight to Ceylon\u2019 by Dr. Martin Pieris and Ismeth Raheem looks back at the years Julia Margaret Cameron, pioneering photographer of the 19th Century, spent in colonial Ceylon<\/span><\/p>\n

\n

St. Mary\u2019s Church in Bogawantalawa lies huddled against the upcountry mist, a cosy little retreat against the dark cold weather of the hills, with glowing stained glass.<\/span><\/p>\n<\/div>\n

Here in its graveyard are the graves of many Britons who lived and worked for the empire, but the most resonant name of all would be Julia Margaret Cameron. A couple of small gravestones joined by a Celtic cross (given Julia\u2019s love for Arthurian times) commemorate the best known portraitist of the 19th Century and her husband who loved Ceylon.<\/span><\/p>\n

<\/p>\n

It is here we must linger first in this story, for it was where the germ of the idea for Dr. Martin Pieris\u2019 and Ismeth Raheem\u2019s new film, From Isle of Wight to Ceylon, was first planted amidst the quaint aura of a little Anglican church in the hill country.<\/span><\/p>\n

\"\"<\/span><\/p>\n

\u201cI am the greatest photographer of all time\u201d: Julia Margaret Cameron<\/span><\/p>\n<\/div>\n

The beautiful 15-minute short film looking at Julia\u2019s three years (her last) from 1875 to 1879 spent in Ceylon in plantations in Kalutara, Glencairn and Bogawantalawa, is a sepia and black and white evocation of British Ceylon and those \u2018mystery years\u2019 when Julia the upper class \u2018visionary\u2019 (closer to the old sense of the word of seeing \u2018visions\u2019), did comparatively little photographic work.<\/span><\/p>\n

Martin, himself a photographer, says this film is what Carl Muller would have called \u2018faction\u2019 \u2013\u00a0 fiction based on fact.<\/span><\/p>\n

Narrated by Martin\u2019s wife Sue Scott, it imagines Margaret coming back from the grave and mulling over the three years.<\/span><\/p>\n

\"\"<\/span><\/p>\n

Traditional snake charmers: One of Julia\u2019s pictures featured in the film<\/span><\/p>\n<\/div>\n

Martin, a Sri Lankan who emigrated to Australia half a century ago, worked with Ismeth who, ever encyclopaedic, shook his locks at the biographies written on the Ceylon years of Julia\u2019s life, often riddled with ridiculous details like the Camerons walking from Kalutara to Bogawantalawa over one breezy evening \u2013\u00a0 details overlooked in blithe unconcern for the \u2018backwoods\u2019 of the empire.<\/span><\/p>\n

While best known for her portraits of famous men like Darwin and Tennyson, and those inspired by legends, religious themes, and literature, Julia\u2019s photos had a spiritual glow.<\/span><\/p>\n

After childhood and marriage in Calcutta, Julia with husband Charles Hay Cameron came to London, then later Isle of Wight, to the seaside village of Freshwater. Till 1875 (when the Ceylon years begin) she lived in Freshwater.<\/span><\/p>\n

\"\"<\/span><\/p>\n

Julia\u2019s picture of husband Charles Cameron as King Lear<\/span><\/p>\n<\/div>\n

Margaret\u2019s antecedents are impeccably noble and Ismeth says Charles (of the Colebrooke- Cameron Commission) grandson to the Earl of Errol, bought thousands of acres in Ceylon for just ninety shillings.<\/span><\/p>\n

Having turned down the governorship of Ceylon he later posed for her photos as King Lear and in other venerable roles.<\/span><\/p>\n

Martin says that many flukes conspired to make Julia\u2019s Ceylon years patchy in terms of portraits: she was \u2018violently\u2019 ill for the first few months in coffee blossom country; she was not photographing \u2018peers\u2019 or friends as in England but servants and labourers (to whom she could not convey her specific needs); it was difficult to have dark rooms and other facilities and she had no \u2018stories\u2019 for Ceylon as she did in her own island of Albion.<\/span><\/p>\n

Ismeth however, does not agree that Julia\u2019s Ceylon oeuvre was sketchy and points out that Marianne North, her botanical painter friend, recalls portraits \u201ccovering every inch of the walls, floors, settees, tables, chairs\u201d in Kalutara: Tamil girls with heavy jewellery, snake charmers and Sinhalese ladies in chaste white jackets.<\/span><\/p>\n

Before they came to Ceylon, Julia knew the East intimately as an Anglo-Indian deb and used to wear Indian silks and shawls. It was aged 48 she began photography (the camera was a gift from her daughter).<\/span><\/p>\n

The woman who emerges from the film is a somewhat melancholy genius acutely aware of her brilliance; not unlike her great-niece Virginia Woolf who was obsessed with her great-aunt due to obvious reasons though one was dead before the other was born.<\/span><\/p>\n

\"\"She believed ardently in herself and was a great \u2018self-promoter\u2019, says Martin, quoting a letter written to the Victoria & Albert Museum, slashed with unabashed phrases like \u201cyou should be honoured to have my portraits\u201d and even \u201cI am the greatest photographer of all time\u201d.<\/span><\/p>\n

Upper class confidence mixed with a need for money \u2013\u00a0 for according to some accounts the Camerons wanted for the \u2018mint sauce\u2019 despite Charles\u2019s \u2018fabulous\u2019 wealth and positively \u2018undulating\u2019 estates.<\/span><\/p>\n

The film captures early British Ceylon \u2013\u00a0 fishermen with cormorants and egrets, bullock carts, panoramas of rural villages, tea estates and dense jungle, against the world of the British Julia \u2013 Shakespearean or Tennysonian images, portraits of men that ooze character and those of women capturing a fragile elusive beauty.<\/span><\/p>\n

Ismeth had a rather disheartening time trying to track down some of the Ceylon portraits supposedly given to the Colombo Museum. They remain lost in some limbo; each at least worth some 50,000 dollars. Only 29 are currently known from Ceylon in contrast to around 900 done in England.<\/span><\/p>\n

\u2018Ceylon\u2019 was engraved in the hearts of the Camerons. Not only was their property in the Isle of Wight before arriving in Ceylon (next door to Alfred Lord Tennyson) called \u2018Dimbola\u2019 (after Dimbulla estate that Charles had bought), but it was only here in Ceylon that he felt he could be truly happy.<\/span><\/p>\n

Both Ismeth and Martin did an enormous amount of research for the film, with Ismeth visiting the Isle of Wight and other locations and Martin putting himself assiduously in Julia\u2019s (rather capacious) shoes as a fellow photographer, albeit, he admits, today in a much more easier world for the kind of portraits Julia did required extraordinary patience, with exposures of 7 to 15 minutes where sitters had to stay unblinkingly still.<\/span><\/p>\n

While the film relies on images by Julia and pictures of Ceylon, Martin did reenact her funeral with \u201csix white Brahmin bulls\u201d drawing the cart to church. The tombstone and ebony coffin of (the real) obsequies were from England brought when they came over. Charles died after his wife in 1881.<\/span><\/p>\n

In St. Mary\u2019s Bogawantalawa (no longer alas in the spruce condition of British times) can still be seen three stained glass windows donated by the Camerons. Ismeth and Martin stress that this final link with the illustrious Camerons in Ceylon should be preserved.<\/span><\/p>\n

From Isle of Wight to Ceylon will be premiered at the Lionel Wendt on Friday, September 9 at 6.30 p.m together with the short film The Song of Lanka, also by Martin Pieris<\/span>.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Portrait of a portraitist from the mists of time-By Yomal Senerath-Yapa Source:Sundaytimes A new film, \u2018From Isle of Wight to Ceylon\u2019 by Dr. Martin Pieris and Ismeth Raheem looks back at the years Julia Margaret Cameron, pioneering photographer of the 19th Century, spent in colonial Ceylon St. Mary\u2019s Church in Bogawantalawa lies huddled against the […]<\/p>\n","protected":false},"author":3,"featured_media":98864,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"aside","meta":{"footnotes":""},"categories":[20],"tags":[47354,47353],"class_list":{"0":"post-98863","1":"post","2":"type-post","3":"status-publish","4":"format-aside","5":"has-post-thumbnail","7":"category-articles","8":"tag-dr-martin-pieris","9":"tag-st-marys-church-in-bogawantalawa","10":"post_format-post-format-aside"},"yoast_head":"\nPortrait of a portraitist from the mists of time-By Yomal Senerath-Yapa<\/title>\n<meta name=\"description\" content=\"A new film, \u2018From 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