Section 2: The Miraculous Power

Gender, surprisingly, occupies a liminal space in folk portraits of children.

Social conventions from about 1800 to 1865, when the genre was at its peak, often make discerning the gender of the young sitter difficult. Specifically, girls and boys in the nineteenth century donned similar hairstyles, clothing, and jewelry throughout their youth, a circumstance that necessitated the inclusion of thematic signifiers to establish the distinction between masculine from female reveal much about nineteenth-century notions of gender.

Ammi Phillips’s paired Boy in Red and Girl in Red are exemplary of these paradigms. Because the dress worn by the male subject is identical to that of his female counterpart, the props are crucial clues as to the genders of the sitters. The boy’s hammer is suggestively placed to both indicate the phallus and connote noise and control, qualities deemed unfeminine at the time. By contrast, the girl holds ripe strawberries over her womb, portending her future fertility. The props in both images not only help distinguish male and female but also reveal the enduring binaries of the time—the agency afforded to the male sitter by his phallic implement is wholly absent from Girl in Red, reflecting socially determined distinctions common during the nineteenth century. 

Social conventions from about 1800 to 1865, when the genre was at its peak, often make discerning the gender of the young sitter difficult. Specifically, girls and boys in the nineteenth century donned similar hairstyles, clothing, and jewelry throughout their youth, a circumstance that necessitated the inclusion of thematic signifiers to establish the distinction between masculine from female reveal much about nineteenth-century notions of gender.

Ammi Phillips’s paired Boy in Red and Girl in Red are exemplary of these paradigms. Because the dress worn by the male subject is identical to that of his female counterpart, the props are crucial clues as to the genders of the sitters. The boy’s hammer is suggestively placed to both indicate the phallus and connote noise and control, qualities deemed unfeminine at the time.

    Related Objects

    3 objects
    Hagar and Ishmael Visited by the Angel , by follower of José Jiménez Donoso, Spanish, ca. 1632 - 1690formerly attributed to Francisco de Herrera the Younger, called "El Mozo", Spanish, 1627–1685formerly attributed to Italian , Venetianformerly attributed to Giovanni Battista, Younger Pittoni, Italian, 1687–1767formerly attributed to Anonymous , object number x1947-135
    Hagar and Ishmael Visited by the Angel

    Hagar and Ishmael Visited by the Angel

    follower of José Jiménez Donoso, Spanish, ca. 1632 - 1690
    formerly attributed to Francisco de Herrera the Younger, called "El Mozo", Spanish, 1627–1685
    formerly attributed to Italian , Venetian
    formerly attributed to Giovanni Battista, Younger Pittoni, Italian, 1687–1767
    formerly attributed to Anonymous

    x1947-135

    Mission District, San Francisco , February 24, 1949 , by Minor White, 1908–1976; born Minneapolis, MN; died Boston, MA; active Portland, OR, and Rochester, NY , object number x1980-90
    Mission District, San Francisco

    Mission District, San Francisco ,

    Minor White, 1908–1976; born Minneapolis, MN; died Boston, MA; active Portland, OR, and Rochester, NY

    x1980-90