Yevonde

The operatic effect was further heightened by her use of a color printing process that rendered hyper-rich hues she believed especially suited to female subjects whose “exquisite complexions and coloured fingernails came into their own.” This quote and others from the book reveal Yvonde to be a somewhat complex protofemini–Albert Mobilio “Hyperallergic”
In Yevonde’s hands, color created a space to experiment and explore with the painterly qualities of the form. She cast leading stars of stage and screen like Vivien Leigh and John Geilgud as gods and goddesses sent down to earth, capturing the surreal space where they were both human and divine in a world just starting to modernize.–Miss Rosen “Blind”
Yevonde elevated artifice and performative mise-en-scène to new, dreamlike ends.–Emily LaBarge “The New York Times: Arts”
Yevonde understood that colour was a potent avenue into the realm of feminine fantasy…[she] embraced the full range of its possibilities.–Rosalind Jana “British Vogue”

Clare Freestone is Curator, Photography, at the National Portrait Gallery, London. Recent publications include Photographs in Dialogue UAE - 1971 - UK (2020) and Ida Kar: Bohemian Photographer (2011), with contributions made to Love Stories: Art, Passion & Tragedy (2020).

Pamela G. Roberts is a researcher and curator. Recent publications include Alvin Langdon Coburn (2015) and A Century of Color Photography (2008), with contributions made to Madame Yevonde: Be Original or Die (1999).

Susanna Brown is a photography curator who previously worked for the Victoria & Albert Museum, London. Recent publications include Tim Walker: Wonderful Things (2019) and Horst: Photographer of Style (2014).

Lucinda Gosling is Head of Sales & Research at Mary Evans Picture Library. Recent publications include John Hassall: The Life and Art of the Poster King (2021), Great War Britain: The First World War at Home (2014) and Brushes and Bayonets: Cartoons, Sketches and Paintings of World War I (2008), with contributions made to Art of Feminism (2019).

Lizzie Broadbent has worked with teams for over 25 years in complex business, consulting and non-executive roles. Her blog, Women Who Meant Business, tells the stories of business women working in the late nineteenth and early twentieth centuries.

Georgia Atienza is Assistant Curator, Photographs (Acquisitions and Collections), at the National Portrait Gallery, London. Contributions made to recent publications include Love Stories: Art, Passion & Tragedy (2020), Ida Kar: Bohemian Photographer (2011) and The Virginia Woolf Bulletin (Issue No. 21, January 2006).

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