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Canadian photographer (1861–1943)
Edith Sarah Watson (November 9, 1861 – December 23, 1943)[1] was a photographer whose profession spanned the Eighteen Nineties by the Thirties.[1] She is greatest recognized for her photojournalistic photographs of rural individuals working, most frequently girls, significantly in Canada.[1]
Born in 1861 in East Windsor Hill, Connecticut, United States, she was the youngest of 4 youngsters of Sarah and Reed Watson. Reed farmed tobacco and, throughout occasions of poor crops, labored as a printer in Cambridge, Massachusetts. Edith Watson studied at Hartford Female Seminary, based by Catherine Beecher, academic reformer and sister of Uncle Tom’s Cabin writer Harriet Beecher Stowe. During her early years, Watson’s uncle, M.D., botanist and photographer, Sereno Watson[1], launched her to the artwork and instruments of images.
For a decade after Edith’s 1882 commencement from the seminary, she and her sister, Amelia Watson, a lifelong watercolourist, shared reveals and gross sales round New England. In 1887 they constructed a studio on one finish of the household house, the place they continued to indicate, promote, and work after they had been at house. In the Eighteen Nineties, the sisters’ paths diverged: Amelia went south, Edith Watson north.[1]
Watson’s skilled travels started in Newfoundland and Canada within the early Eighteen Nineties. She went first as a painter, however quickly partly, then nearly solely, earned her residing as a creative and industrial photographer of rural individuals, most frequently girls, throughout the nation[2][1]. She offered her images to quite a few North American newspapers and magazines; she generally bartered her images to acquire lodging or provides. Through these efforts, she maintained her independence and supported herself as each artist and traveler[2].
Starting in 1898, Watson spent winters in Bermuda, the place she rented a studio in St. George’s, and offered watercolors and hand-tinted images.[1] In 1911, she met journalist Victoria “Queenie” Hayward (1876-1956),[2] who turned her companion in work and in life.[3] The pair lived, labored, and traveled extensively collectively by remoted areas of Newfoundland, Labrador and Canada.[4]
With her digicam, Watson documented the lives of individuals in Newfoundland, Labrador, the Maritimes, Quebec, Ontario, after which westward into Manitoba, Saskatchewan and British Columbia,[4] whereas Hayward wrote about them.[5] The two girls stayed with First Nations individuals in Quebec and Ontario; Mennonites, Doukhobors, and different “New Canadians” in Manitoba, Saskatchewan and British Columbia[2]; and Haida individuals in British Columbia.[4]
Edith labored and travelled alone for twenty years, then for nearly one other 20 years with Victoria Hayward. Throughout that point she offered her work to governments and advertisers, in addition to publications together with Chatelaine, Maclean’s, the Canadian Magazine, National Geographic, and Ladies’ Home Journal. Uncommonly for the time, she insisted on being credited for her revealed work.[2][1]
In 1922, Macmillan Canada revealed Watson and Hayward’s Romantic Canada. The largest journey ebook revealed within the nation to that point, it featured 77 of Watson’s images reproduced in halftone[2]. It was distinctive, because it highlighted girls’s contributions to rural communities.[6] In it, Hayward coined the phrase “the Canadian mosaic” to explain the nation’s multiculturalism;[4] the phrase and idea was picked up by subsequent thinkers and artists, together with author and cultural promoter John Murray Gibbon.
Watson died on a visit to St. Petersburg, Florida, in 1943.[7]
Photographs of Canadian girls
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“Hoeing Potatoes, Petty Harbour”
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“Along the Shore at Burgeo, Newfoundland, Canada”
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“Dried berries being packed away for winter luxuries”
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“Weeding beans on a Dutch truck farm outside Winnipeg, Manitoba”
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“Madonna of the Fields”
Photographs of Bermuda
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- ^ a b c d e f g h Rooney, Frances (1996). Working Light: The Wandering Life of Photographer Edith S. Watson. Ottawa, Canada: Carleton University Press. ISBN 9780886292737.
- ^ a b c d e f Rooney, Frances (2017). Working the Rock: Newfoundland and Labrador within the Photographs of Edith S. Watson, 1890-1930. St. John’s: Boulder Books. ISBN 9781927099742.
{{cite ebook}}: CS1 maint: date and yr (hyperlink) - ^ Rooney, Frances (December 31, 1997). “Photographer Edith Watson”. section15.ca. Archived from the original on April 2, 2015. Retrieved March 7, 2015.
- ^ a b c d Rooney, Frances (2005). Extraordinary women explorers. Toronto: Second Story Press. pp. 29–37. ISBN 9781896764986. Retrieved March 1, 2015.[permanent dead link]
- ^ Dagg, Anne Innis (2001). The feminine gaze a Canadian compendium of non-fiction women authors and their books, 1836–1945. Waterloo, Ont.: Wilfrid Laurier University Press. p. 129. ISBN 978-0889203556. Retrieved March 1, 2015.
- ^ Bassnett, Sarah; Parsons, Sarah (2023). Photography in Canada, 1839–1989: An Illustrated History. Toronto: Art Canada Institute. ISBN 978-1-4871-0309-5.
{{cite ebook}}: CS1 maint: a number of names: authors record (hyperlink) - ^ “WATSON, Edith”. Canadian Women Artists History Initiative. Concordia University. Retrieved March 1, 2015.
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