Figure 1.--After the rather stark black frops of the 1860s we tend to see domestic back drops in the 1870s and 80s. Gradually in the 1890s we begin to see rather romanticically styalized backdrops. This portrait is undated, but the mount and whicker furniture suggest to us that it was taken about the turn-of-the-20th century. Notice the rather romantic background. The portrait was taken at the Kaurin Studio in West Grand Rapids, Wisconsin. The boy wears a classic Fauntleroy style which at the tome was declining in poularity.

One interesting aspect of phographic studios is the backdrops they used. These backdrops were not invemted along with photography. In fact it took several decades for enterprising individuals to think up the idea and for it to become poplar. Early photographic portraits had plain, often dark backdrops. Only in the 1860s do we begin to see backdrops and they were rather simple. It was not until the 70s that elaborate backdrops become common place. The time-line and the types of backdrops varied chronologically and from country to country. Germany seems to have played an important role in popularizing the idea of backdrops and German firms sold these backdrops. The backdrops offered also varied from studio to studio. The more established studios, of course, offered the greatest choice in backdrops and the most elaborate ones. The inspiration here may have been painted portraits which often had elaborate backdrops. There were a variety of backgrounds in old portraits. We rather thought that studios would tend to offer backdrops in keeping with local conditions, but city studios commonly had rural backdrops. In fact city backgrounds are quite rare. We are not sure why that was. We note that studios in seaside resport towns commonly has beach backdrops. Studios in these resorts in particular had appraoriate background drops so that the photograph might have the atmosphere of the local resort. One source tells us that beack resort backdrops were no unusal in inland cities. We can not yet confirm that.

Despription

Backdrops were cloths suspended behind the subject. Some backdrops were plain designed meerly to hide the portion of the room behind the subject which could be destracting. Other backdrops were more elaborate, painted to give the impression of both indoor and outdoor scenes. More modern backdeops as a result of the development of color photography have color as a major feature, although sometimes color lighting is used on a white backdrop.

Chronology

One interesting aspect of phographic studios is the backdrops they used. Here we are talking primarily avout CDVs, cabinet cards, and tin-types. The time-line and the types of backdrops varied chronologically and from country to country. These backdrops were not invented along with photography. In fact it took several decades for backfrops to become popular. it to become poplar. It is believed that Nritish photographer Antoine Claudet wjo came up with the idea (earlys 1840s). This was very soon after the Daguerreotype was invented . We do not see them being used in early studio portraits, including Daherreotypes, Ambrotypes, and tintypes. Only with the appearance of the CDV do we bedgin to see backdrops being wideluy used. Photographers soom realised that they could provide clients imposing, signified background that artists created in painted portraits. Once the idea of backdrops became established, we note changes in the style of backdrops over time. Early photographic portraits had plain, often dark backdrops. A good example is three unidentified Illinois children about 1865. Only in the 1860s do we begin to see backdrops and they were rather simple--at first largely blank walls. The 1860s saw backdrops with a few pieces of furnishing and drapes. The walls were often bare giving the impression of a theatrical stage. Most 1860s CDVs were done like this. By the time the cabinet cards became popular in the early 1870s, the backdrops had largely changed. The backdrops by the 1870s became much more elaborate adding an element of drama. A popular style were the furnishings of a grand home such as book-lined studies. We also see the classical look with columns, porticoes, and balustrades. We begin to see three-dimensional settings with various stasge objercts placed in the scene in front of the backdrop. This was done by putting items like columns on castors so they could be easily moved around. We see glimpses of garden or countryside through arches or windows. There were also completely outdoor environment, but the outdoor enviroment was commonly well-kept gardens as might be kept by a wealthy family. There were neatly trimmed painted trees and shrubery along with fountains and pools. Backdrops gradually became grandiose, much more elaborate than the homes in which most people actually lived. People liked the feeling of gravitas in studio portraits. We see both impressive studies with book cases as well as wee-appointed studies. These backdrops were popular in the 1870s and 80s. One major change in the 1880s was the appearance of nostalgic country scenes. We begin to see more rustic outdoor scenes, more indicative of the frontier than an urban gardem. We also begin to see a kind of impressionistic quality with the nature depictions. (Interestingly this was at the same time that the impressionist painters in France were gaining in popularity.) America by the 1880s was well on its way to becoming an industrial giant. Many sucessful people were beginning to look back on their rural roots with fondness. Gradually we also see more romantic background scenes in the 1890s. The backdrops like include a ruined folly on the horizon along with a dramatic sky. We also begin to see more diversity in the backfrops. Studios began to offer coastal and nautical scenes. Studios continued to offer bavkdrops with indoor scenes. There tended to be more Victorian than classical. We see wood-panelled rooms with such fearures as bays, window seats, and evocative leaded glass windows.

Country Trends

Germany seems to have played an important role in popularizing the idea of backdrops and German firms sold these backdrops. Photographic studio backdrops seem to have been brought to Britain by Antoine Claudet (early 40s). They did not become common place until the 1860s. We are jot yet sure whon introduced them to the United States. One source tells us that elaboirate studio backdrops were more popular in Europe than america. We do not yet know enough about European backdrops to be abe able to assess this.

Studio Variations

The backdrops offered also varied from studio to studio. The more established studios, of course, offered the greatest choice in backdrops and the most elaborate ones. The inspiration here may have been painted portraits which often had elaborate backdrops.

Background Variety

There were a variety of backgrounds in old portraits. We rather thought that studios would tend to offer backdrops in keeping with local conditions, but city studios commonly had rural backdrops. In fact city backgrounds are quite rare. We are not sure why that was. Rrural backdrops were, however, very popular. This probably reflects the rural origins of many people in the 19th century. This was probably especially true of Americans. It perhaps reflects a nostalgia for a simpler area which most Americans probably though as a more moral period. We know less about foreign countries. These were often complete with split rail fences and rocks. European rural settings might have suggested an ancestral estate. This was less true of America where the idea seems to have been simply a rural setting. The poopular split rails would have suggested a family farm. These rural scenes were popular for children. I think the connection was the innosence of children and rural America. the Elaborate interiors suggesting a richy furished home were also popular. Here both sitting rooms (parlors) and studies with book-lined shelves. Women might be commonly depicted in the prlor setting and men in the study setting. The major focus of indoor settings seems toi have been to provided a dignified setting for the portrait.

Production

We thought that backdrops and other items such as furniture and props were secured locally. Many probably were. They were also available commercially. Companies producung these items appeared. Engelmann & Schneider in Dresden was particularly notable. They even issued catalogues detailing their producr line. German firms became renouned for their expertise in pgotography and photographic related items. Germany became especially noted for cameras, but German firms specialized in mny other photography related items.

Resort Backdrops

We note that studios in seaside resport towns commonly has beach backdrops. Studios in these resorts in particular had appraoriate background drops so that the photograph might have the atmosphere of the local resort. One source tells us that beack resort backdrops were no unusal in inland cities. We can not yet confirm that. We do note a beach report backdrop that was used by a studio in Globe, Aruizona. Arizona is an inland stte.

Navigate the Boys' Historical Clothing Web Site:
[Dresss] [Sailor suits] [Sailor hats] [Buster Brown suits] [Eton suits] [Rompers] [Tunics] [Smocks] [Pinafores]

Created: 11:23 PM 7/8/2008
Last updated: 11:23 PM 7/8/2008