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Chapter 1 introduces the magazine, which was Duval’s primary site of publication, and her place within it. Themes that emerge affecting her work relate to the serial publication of the magazine and its political orientation, and the way in which Duval’s work was juxtaposed with the contributions of others, notably the cartoonist of the main ‘cut’ (the illustration with the highest status), William Boucher. The chapter emphasises the innovative nature not only of Judy but also of Duval’s role within the magazine and, by extension, her role in developing cartooning itself.
Chapter 4 examines Duval’s only children’s book, with particular reference to its relationship to Edward Lear’s nonsense verse, other influences on its content and its contemporary reception. The book’s lavish production values point to a high point in her career, and its mode of address to a willingness to experiment.
Chapter 9 considers Duval’s role in the developing canon of women artists and writers, and her connections with ‘serio-comic’ modes of female performance. An extensive survey of her strips and cartoons reveals indications of her attitudes to gender and politics, initiating a discussion of her work as potentially proto-feminist.
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.