“I firmly believe,” stated Yevonde, the British photographer, during a speech in 1921 to the Professional Photographer’s Association in London, “that photography would be greatly lacking without the presence and contributions of women.” The newly reopened National Portrait Gallery in the city is currently showcasing an exhibition titled “Yevonde: Life and Color,” which emphasizes the importance of female representation through her distinctive and pioneering work in color photography. Yevonde, born as Yevonde Cumbers in South London in 1893, adopted the professional name Madame Yevonde instead of her married name, Mrs. Edgar Middleton. She embraced her unique identity by signing her prints, exhibition invitations, and even her autobiography, “In Camera,” with the singular name Yevonde.
Yevonde’s journey towards becoming a photographer began when she attended multiple private schools in the home counties and a convent school in Belgium. In 1909, Yevonde returned to England as a staunch feminist after being influenced by the women’s suffrage movement, engaging in activities such as marching, chalking sidewalks, and selling papers for the Women’s Social and Political Union. It was during this time that she discovered her potential for a career in photography through the inspiring examples of successful women photographers, one of whom she apprenticed under.
In 1914, at the young age of 21, Yevonde established her own studio with the support of her father, Frederick Cumbers, who was a co-founder of an ink manufacturing company. Her talent quickly garnered attention as she captured portraits of prominent figures, including members of the royal family, which were featured in popular illustrated magazines such as Sketch and Tatler.
Yevonde’s photography career flourished until her passing in 1975. Her subjects ranged from suffragettes to socialites, sportswomen to sovereigns, and celebrities, representing the crème de la crème of British society. Her portraits, arranged chronologically, demonstrate her transition from tentative exploration in black and white to the theatrical and saturated hues that became her signature style.
In 1931, when Vivex, the first color process available to professional photographers in Britain, was introduced, many within the fine art photography sphere regarded color as a trivial gimmick. However, Yevonde immediately embraced this new technology to produce rich, natural colors in her photographs. She saw it as an opportunity for experimentation and liberation, particularly suited to women practitioners who were familiar with makeup, fashion, and interior design. Yevonde rejected the wishy-washy hand-tinted effects of the past and demanded a riot of bold colors.
The following year, Yevonde held the first British exhibition of color portraits, which dazzled viewers with their crimson tones. Her portraits transformed film stars, sports car drivers, and even newspaper sellers into mesmerizing figures against vibrant backdrops.
Yevonde’s most renowned series, “Goddesses and Others,” created in 1935, showcased a darker palette and a visionary approach. These 26 photographs, some of which are featured in new archival prints acquired by the National Portrait Gallery, depicted women aged 15 to 40 dressed as mythological characters. Yevonde’s elaborate use of props, painted and fabric backgrounds, dramatic lighting, and colored filters elevated artifice and performance to create dreamlike images. Though criticized as posh decadence at the time, these vibrant portraits of female identity should be considered on par with the works of celebrated male photographers like Cecil Beaton and Angus McBean.
During World War II, color printing ceased, resulting in Yevonde’s return to more conventional black-and-white portraiture. Her later works, including playful photomontages and solarized portraits, do not match the strength of her earlier achievements. Nevertheless, they demonstrate that Yevonde’s photography studio remained a space for artistic experimentation and financial independence—an environment she could truly call her own.
The exhibition “Yevonde: Life and Color” will be on display at the National Portrait Gallery in London until October 15. Visit npg.org.uk for more information.
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