(Page 2 of 2) Print Version
A Painterly Photographer
Farmer’s child, Marlborough, New Hampshire, ca. 1900
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Stanley Museum on deposit at Maine Historical Society
Tristam C. Norton shelling corn, Kingfield, 1901
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Stanley Museum on deposit at Maine Historical Society
Because it was the only light source available to her, Chansonetta Stanley Emmons used natural light for her photographs, masterfully placing white elements to accent her compositions. Her photographs were often noted as being painterly, dreamy representations of a scene.
Chansonetta’s art training and access to Boston museums likely exposed her to works by 17th century artists such as Vermeer and Rembrandt, potentially influencing her work. Both painters were masters of light, and like Chansonetta, concentrated on domestic interiors. The concept of chiaroscuro is also evident in Chansonetta’s artistic choices. Chiaroscuro is an art historical term referring to the use of light and dark to create the illusion of three-dimensional volume on a flat surface. The Italian term translates to "light-dark" with chiaro meaning bright or clear and scuro meaning dark or obscure.
Chansonetta employs chiaroscuro effects in her photographs, blacking out large portions of the background and brightly illuminating certain foreground subjects with raking light from windows, creating dramatic effects and centering the focus on her subjects. Chansonetta developed, printed, and matted all of her photographs, allowing her to customize each print. In 1933 Chansonetta said, “I think no one but myself would ever have the patience to print from many of my most interesting plates.”
Black and white photographs transformed by hand painting
Uncle Tristam at the well, Kingfield, ca. 1900
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
Uncle Tristam at the well, Kingfield, ca. 1900
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
Creating photographs with a bulky camera, natural light, glass plates, and slow emulsion speeds required careful planning. Chansonetta posed her subjects as if they were unaware of her presence, but these photographs are the result of hours of preparation.
By 1920, Chansonetta and Dorothy developed the slideshow of 103 glass lantern slides they hand tinted with color. Chansonetta ran the projector, and Dorothy narrated. These “Magic Lantern” shows were popular forms of visual entertainment before moving pictures became more widespread.
Images of Tristam Norton (1811-1908) include the black and white and the hand-colored glass negatives showing the difference color has on the subject.
Noonday meal, New Portland, ca. 1898
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Stanley Museum on deposit at Maine Historical Society
Noonday meal, New Portland, ca. 1898
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
The black and white and hand-colored images of Chansonetta’s “Noonday Meal” feature Lucy Butts Carville, her sister-in-law Nancy J. Butts, and her brother, Reverend Emery Butts in their home in New Portland, wearing their best dresses, aprons, and waistcoat.
Nancy J. Butts wears a gigot revival puff sleeve dress popular in America in the late 1890s—therefore still fashionable in Maine in 1898. The gigot, or leg of mutton sleeve, first appeared in the 1830 and 1840s, and made a brief return in the 1890s. The formality of the outfits and table set with bone china teacups and crystal water glasses counters the metal enamel teapot held by Lucy Butts Carville.
Although the tinted lantern slide shows signs of damage, Chansonetta and Dorothy’s careful rendering of their relatives shows sensitivity and tenderness. The colored pigments on the glass metaphorically breathe life into the sitters, especially since all of the subjects in this image were deceased by the time of the hand-coloring in 1925.
The Old Table Chair
Old table chair, New Portland, ca. 1901
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
Vila Walker True setting table, New Portland, ca. 1901
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
Chansonetta self-published a book, The Old Table Chair in 1909. It included her poetry and five original printed photographs. Chansonetta dedicated the book, “To the Cherished Memory of dear Old folks.”
The table chair was an actual piece of furniture that, depending on the position of the top, could be used as a table or a chair. Stanley relatives in New Portland, Vila Walker and John True, owned this piece of antique furniture when Chansonetta staged it in various positions for her photographs. Chansonetta describes the table chair in stanza one of her poem.
"Old table chair #4," New Portland, ca. 1901
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
The Old Table Chair documents three generations of a New England family on a rural farmstead—something that mirrored her own experience. The book is an early example of documentary photography showing people in their homes, doing daily work—although in these photos, they are wearing their best outfits.
The Old Table Chair
Pushed back close to the wall so gray,
It holds out its arms through all the day;
Patiently sheltering all who rest there,
Stands Grandmother’s old, red, table chair.
Long, long ago, ‘twas new and bright,
When Grandpa brought home his bride that night;
‘Twas spread out round with linen new,
And Grandma set on the dishes blue.
Joan True, New Portland, ca. 1900
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
The faces bend o’er it were fresh and young,
Life’s toils and endeavors were only begun;
Now I see deep marks made by restless little feet,
On its tarnished old sides and well-worn seat.
It’s now the spot where Grandma lingers,
With her basket of apples and busy fingers;
Her head has grown white with many a care,
But her dreams are sweet in the old table chair.
—Chansonetta Stanley Emmons, 1909
Emery Butts, New Portland, ca. 1901
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
About the Stanley Museum
Opened in the Stanley family's hometown of Kingfield, Maine in 1981, the Stanley Museum’s mission is to interpret the lives of the family by preserving the heritage of Stanley family genius. Francis Edgar (FE) Stanley invented the famous “Stanley Steamer” automobile, which he manufactured with his twin brother, Freelan Oscar (FO) Stanley. The Stanley Dry Plate company was also a joint endeavor of the twins. FO Stanley, along with nephew Carlton Stanley, also opened a violin making business.
Chansonetta Stanley Emmons, and her daughter Dorothy are equally important, Chansonetta for her photographs depicting rural turn-of-the-century American life and Dorothy for her paintings.
The museum uses these collections to illustrate the technical, artistic, social and economic achievements of the Stanley family and how these achievements relate to the past, present and future.
Hazel True feeding the hens, New Portland, ca. 1910
Item Contributed by
Stanley Museum on deposit at Maine Historical Society
See the Stanley Museum's collections on Maine Memory Network by clicking this link
Friendly URL: https://www.mainememory.net/exhibits/Chansonetta
