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Chapter 3 traces Duval’s stage performances, from pantomimes to romantic dramas and burlesque, using the sparse available evidence, and relates known events in her life to specific drawings she made. Her highs and lows in Ross productions, and her use of stock characters, were inspirations for her Judy strips and cartoons, though less than 5 per cent are explicitly theatre-based.
Chapter 7 introduces the influences that may have impinged on Duval as an actor and therefore informed her drawing, including nineteenth-century performance theory and rehearsal practices as revealed through contemporary actor diaries. The chapter concludes with some thoughts on how Duval’s apparently spontaneous style may relate to current notions of drawing as performance.
Chapter 8 examines the theatre influence on Duval’s output, by noticing models other than academic drawing arising from the visual tropes of theatre spectacle. Examples of stage mechanics and human athleticism are explored for clues to her depiction of movement and novelty.
Marie Duval: Maverick Victorian cartoonist offers the first critical appraisal of
the work of Marie Duval (Isabelle Émilie de Tessier [1847–90]), one of the most
unusual, pioneering and visionary cartoonists of the later nineteenth
century.
Taking a critical theory approach, the book discusses key themes
and practices of Duval’s vision and production, relative to the wider historic
social, cultural and economic environments in which her work was made,
distributed and read. It identifies Duval as an exemplary radical practitioner
in an urban media environment, in which new professional definitions were being
created, and in which new congruence between performance, illustration,
narrative drawing and novels emerged. The book divides into two sections: Work
and Depicting and Performing, interrogating the relationships between the
developing practices and the developing forms of the visual cultures of print,
story-telling, drawing and stage performance. On one hand, the book focuses on
the creation of new types of work by women and gendered questions of authorship
in the attribution of work, and on the other, the book highlights the style of
Duval’s drawings relative to both the visual conventions of theatre production
and the significance of the visualisation of amateurism and vulgarity. The book
pays critical attention to Duval the practitioner and to her work, establishing
her as a unique but exemplary figure in the foundational development of a
culture of print, visualisation and narrative drawing in English, in a
transformational period of the nineteenth century.
Visual journalist and actress Marie Duval (Isabella Emily Louisa Tessier, 1847–90) was one of the most unusual, pioneering, and visionary cartoonists of the later nineteenth century. Her work focused on the humour, attitudes, urbanity, and poverty of the types of people she knew, in a period of diversifying leisure activities for working people. Frequently importing the ethics, habits, and practices of the theatre into the periodical press, Duval’s work distributed marginalized ideas (such as a woman employing masculine humour, or feminizing employment in the print industries) to a wide, eager, and heterogeneous readership, increasingly rendering these ideas and types of behaviour unremarkable, habitual, and quotidian. This chapter outlines Duval’s achievement as a visual journalist and the ways in which her work continued to be obscured, stolen, and erased, through phases of denial, misuse, exclusion, and neglect, from the 1880s onwards. The chapter describes the specific problems that the mechanisms of this obfuscation and erasure continue to create, for attribution of both signed and unsigned work by Duval, most recently because of a lack of attribution in the metadata of digitized collections.