Back in September, I found out that Cyanotype artist Anna Atkins was married to John Pelly Atkins, the son of Alderman John Atkins - a West India merchant and slave owner of several plantations in Jamaica. Atkin’s family received compensation (at the expense of UK taxpayers a debt that was only paid off in 2015 along with other former slave owners) when slavery was legally abolished.
To clarify Atkin’s family received compensation (some of claims made by Atkins family were successful and unsuccessful but this expense alongside other former slave traders was paid at the expense of UK taxpayers, a debt that was only paid off in 2015.) when Slavery Abolition Act was passed in 1833 but came into force 1834. The 1807 Slave Trade Act had legally abolished and prohibited slavery in British Empire, the 1833 Slavery Abolition Act was an expansion on 1807 act and had made it illegal to purchase and own enslaved people. In 1838, the enslaved Black people of Jamaica were emancipated.
This meant that Atkins had access to landscape and plant life in Jamaica, and she was able to document the ecosystems of Jamaica as part of her practice. From reading about Anna Atkins and her work, this fact is never mentioned. Almost glossed over, but an important part of her practice and research that we all needed to think about and reflect upon more. It’s almost as if this has been conveniently left out so as not to besmirch the reputation and legacy of Atkins.
Cyanotypes are an easy and accessible form of cameraless photography, used in schools and across homes and darkrooms across the world, this form of photography allows us to engage with photography and nature at the same time. Cyanotypes also focus on the chemistry of photography whilst creating a romantic and painterly interruption of what’s around us.
However, photography cannot escape the implications of slavery/colonialism within its history. As a technique that came into fruition in the 19th century, it really should not be surprising but actually, it should be expected and we should not be shocked to read and learn about this. Every facet of the UK has been liked to slavery and colonialism and it should be expected. In fact, I would be surprised if other historical photography techniques did not have a similar legacy.
Although I was initially shocked (and embarrassed) that I didn’t know actually thought about destroying these cyanotypes which on reflection would not have changed anything and only added to the horror and rage that I felt about learning this information.
Atkin’s studies of ferns - with 25 of the studies coming from Jamaica show that she was able to benefit from having access to Jamaica’s botanical landscape, the wealth that her husband acquired from slavery meant that Atkin was able to invest and spend time on her practice - creating an archive of work which is still reflected and exhibited widely. I find it strange and awkward that I can learn directly about the botanical history of Jamaica not from Black or Indigenous person but from white middle-class English women. My understanding comes from her gaze and from her archival studies - how strange and jarring processing this information has been for me over the past few months.
Writing this I am taken back to Jamaica Kincaid and her writings about the legacy of slavery and colonialism in Antigua.
After reflecting on this information a bit more I think the history of cyanotypes and Atkin’s deserves to be spoken about more often and with more rigor - how can we find a way of utilising this information to contextualise Atkin and cyanotype technique? I have not made any cyanotypes since I found out about this information.
From now on, I intend to engage with cyanotype with more intention and understanding of its history and the implications it has on my practice. The Artist Tom Pope has done a lot of research into Atkin’s and her cyanotypes practice - very illuminating and provides a lot of contexts.
Cyanotype of flowers that were gifted to me, August 2021, ©Marie Smith