Editing Julia Margaret Cameron (section)

=== Marriage and social life ===

==== South Africa and Calcutta ====
In 1835, after suffering several illnesses, Julia visited the [[Cape of Good Hope]] in South Africa with her parents to recover.<ref name="Oxford Dictionary of National Biography" /><ref name="Art Story" /> It was common for Europeans living in India to visit South Africa to convalesce.<ref name="Encyclopedia of Nineteenth-Century Photography" /> While there, she met the British astronomer and photochemist [[Sir John Herschel]], who was observing the southern celestial hemisphere.<ref name="Victoria and Albert Museum" /> 

She also met [[Charles Hay Cameron]], twenty years her senior and a reformer of Indian law and education who later invested in coffee plantations in what is now [[Sri Lanka]].<ref name="Victoria and Albert Museum" /> He was also there to convalesce, probably after a [[malaria]]l fever, which often spread during the Indian monsoon season. The illness caused kidney trouble and diarrhœa for the rest of his life.<ref name="The Complete Photographs" />{{Rp|14}}

They were married in Calcutta on 1 February 1838, two years after meeting.<ref name="Encyclopedia of Nineteenth-Century Photography" /><ref name="Oxford Dictionary of National Biography" /> In December, Julia gave birth to their first child; Herschel was the godfather.<ref name="The Complete Photographs" />{{Rp|15}} Between 1839 and 1852, they had six children, one of whom was adopted.<ref name="Art Story" /><ref name="Grove Art Online">{{Cite web|url=http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000013434|title=Cameron [Pattle], Julia Margaret |last= Lukitsh |first= Joanne |work= Grove Art Online |year= 2018 |doi=10.1093/gao/9781884446054.article.T013434|isbn=978-1-884446-05-4 }}</ref> In all, the Camerons raised 11 children, five of her own, five orphaned children of relatives, and an Irish girl named Mary Ryan whom they found begging on Putney Heath and whom Cameron used as a model in her photographs.<ref name="Soft-focus Photographer" /><ref name="Angels and Instincts">{{Cite magazine|url=http://www.newyorker.com/magazine/2003/02/17/angels-and-instincts|title=Angels and Instincts|last=Thurman|first=Judith|date=10 February 2003|magazine=The New Yorker|access-date=30 April 2019|issn=0028-792X}}</ref> Their son, [[Henry Herschel Hay Cameron]], would also become a photographer.<ref name="Oxford Dictionary of National Biography" />
[[File:Julia Margaret Cameron, by James Prinsep.jpg|thumb|alt=|A drawing of Julia Margaret Cameron by [[James Prinsep]]]]
Through the early 1840s—as the organiser of social engagements for the Governor-General, [[Henry Hardinge, 1st Viscount Hardinge|Lord Hardinge]]—Cameron became a prominent hostess in Anglo-Indian society.<ref name="Oxford Dictionary of National Biography" /> During this time she also corresponded with Herschel. In 1839, he told Cameron about the invention of photography.<ref name="The Complete Photographs" />{{Rp|14}}{{Efn|Herschel coined the terms "photography", "snapshot", and "negative".<ref name="Angels and Instincts" />|name=|}} In 1842, he sent her two dozen [[calotype]]s and [[daguerreotype]]s, the first photographs she ever saw.<ref name="The Complete Photographs" />{{Rp|42}}

==== England ====
The Camerons moved to England in 1845, where they took part in London's artistic and cultural scene.<ref name="The Complete Photographs" />{{Rp|15}}<ref name="Oxford Companion to the Photograph">{{Cite book |title=The Oxford Companion to the Photograph |last=Ford |first=Colin |date=2005 |publisher=Oxford University Press|isbn=978-0-19-866271-6|chapter=Cameron, Julia Margaret|access-date=28 April 2019|chapter-url=http://www.oxfordreference.com/view/10.1093/acref/9780198662716.001.0001/acref-9780198662716-e-254|url-access=registration|url=https://archive.org/details/oxfordcompaniont0000unse_f1h1}}</ref> Julia often visited [[Little Holland House]] where her sister, Sara Prinsep, oversaw a literary and artistic salon "of [[Pre-Raphaelite Brotherhood|Pre-Raphaelite]] painters, poets, and aristocrats with artistic pretensions".<ref name="Grove Art Online" /><ref name="Angels and Instincts" /> Here, she met many of the subjects of her later portraits, including Henry Taylor and [[Alfred, Lord Tennyson|Alfred Tennyson]].<ref name="Encyclopedia of Nineteenth-Century Photography" />

[[Daphne du Maurier]] describes the scene:<blockquote>The nobilitee, the gentree, the litherathure, polithics and art of the counthree, by jasus! It's a nest of proraphaelites, where Hunt, Millais, Rossetti, Watts, Leighton etc, Tennyson, the Brownings and Thackeray etc and tutti quanti receive dinners and incense, and cups of tea handed to them by these women almost kneeling.<ref>Daphne Du Maurier, ed., ''The Young George Du Maurier: A Selection of His Letters, 1860–67'' (Garden City, N.Y.: Doubleday, 1952), p. 112, quoted in Leonee Ormond, George Du Maurier (London: Routledge and Kegan Paul, 1969), p. 103, quoted in {{Cite book|title=Julia Margaret Cameron: The Complete Photographs|last1=Cox|first1=Julian|last2=Ford|first2=Colin|date=2003|publisher=Getty Publications|isbn=0-89236-681-8|location=Los Angeles, CA|url-access=registration|url=https://archive.org/details/juliamargaretcam0000coxj}}</ref></blockquote>[[Benjamin Jowett]] echoed this when describing Cameron's reverence to these artists and poets after a later visit to Freshwater. The same salon-like atmosphere was present. "She is a sort of hero-worshipper, and the hero is not Mr Tennyson – he only occupies second place – but Henry Taylor."<ref name="The Complete Photographs" />{{Rp|27}}

In 1847, she was writing poetry, had started a novel, and published a translation of [[Gottfried August Bürger]]'s ''Leonora''.<ref name="Oxford Dictionary of National Biography" /><ref name="Grove Art Online" />

In 1848, Charles Cameron retired and invested in coffee and rubber plantations in [[British Ceylon|Ceylon]], becoming one of the island's largest landowners.<ref name="The Complete Photographs" />{{Rp|483}} The Camerons settled in [[Royal Tunbridge Wells|Tunbridge Wells]] in [[Kent]],<ref name="National Gallery of Art">{{Cite web|url=https://www.nga.gov/collection/artist-info.13395.html|title=Julia Margaret Cameron|work=National Gallery of Art|access-date=3 May 2019}}</ref> where they were neighbours of Taylor,<ref name="The Complete Photographs" />{{Rp|16}} then moved to East Sheen in 1850.<ref name="Oxford Dictionary of National Biography" /><ref name="Art Story" /><ref name="The Complete Photographs" />{{Rp|7}} During this time, Cameron became a member of a society for art education and appreciation. [[George Frederic Watts]] started working on a painting of Cameron (which is now in the National Portrait Gallery).<ref name="The Complete Photographs" />{{Rp|7}}[[File:Julia Margaret Cameron by George Frederic Watts.jpg|thumb|''Julia Margaret Cameron'' by George Frederic Watts. Oil on canvas, 1850–1852, 24 in. x 20 in. (610&nbsp;mm x 508&nbsp;mm).<ref>{{Cite web|url=https://www.npg.org.uk/collections/search/portraitExtended/mw01021/Julia-Margaret-Cameron|title=NPG 5046; Julia Margaret Cameron – Portrait Extended |website= National Portrait Gallery |access-date=8 May 2019}}</ref>]]
In 1860, after an extended visit to Tennyson at Freshwater, Cameron bought a house next door. The family moved there, naming the property "[[Dimbola Lodge|Dimbola]]" after one of the coffee plantations in Ceylon.<ref name="Oxford Dictionary of National Biography" /><ref name="Angels and Instincts" /> A private gate connected the residences and the two families soon started entertaining famous people with music, poetry readings, and amateur plays, creating an artistic scene similar to Little Holland House.<ref name="Encyclopedia of Nineteenth-Century Photography" /> Cameron lived there until 1875.<ref>{{Cite book|title=The Oxford Companion to English Literature|last=Birch |first=Dinah |date=1 January 2009|publisher=Oxford University Press|isbn=978-0-19-280687-1 |editor=Dinah Birch |chapter=Cameron, Julia Margaret|access-date=28 April 2019|chapter-url=http://www.oxfordreference.com/view/10.1093/acref/9780192806871.001.0001/acref-9780192806871-e-1274}}</ref>