Ethereal Painter

the french images above ↑ (a woman facing away from her two children; two women), get 'edited' (or rather like. recomposed) into the american ones below ↓ (two images of women facing their children).

from the article (Americanizing French Fashion Plates: "Godey's" and "Peterson's" Cultural and Socio-Economic Translation of "Les Modes Parisiennes" by Karin J. Bohleke):

In contrast, French mothers in Les Modes Parisiennes are frequently completely disengaged from the children depicted with them: they look elsewhere and even turn their backs (see Figures 1-2). Again, this is a function of the contrived poses necessary to depict certain key stylistic features of garments. However, this is one aspect of French fashion plates that American editors found unacceptable: when the French mother is looking at her children, Peterson's frequently re-engraved the plate in its entirety (see Figures 3-6). But when the mother's pose has her ignoring the very objects that give her life its meaning. Peterson's was more likely to re-engrave the children without this unacceptable mother, or another French fashion plate woman whose gaze was basically in the right direction was substituted (see Figures 7-8). Concerned that French plates might send the wrong message regarding a woman's ultimate role, American editors eliminated the unacceptable depiction. There are consequences to this substitution: French plates depicted appropriate garments in a suitable setting, thereby instructing their readers in the social etiquette of dress through context; American substitutions resulted at times in socially absurd juxtapositions, such as a ball gown on a clifftop boardwalk (see Figures 9-10).

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