Bicycles and Women: 19th-Century Photos of Change and Emancipation

Contents:

• Society and the Idea of ​​Dynamics: Athletic Bodies in a Snapshot

Between the 1870s and 1890s, being modern meant being active and keeping up with technological change. The bicycle became an important tool that opened up new horizons for personal opportunity. In this context, cultural scientist Alexandra Yurgeneva explores cycling and the symbolism of people with bicycles in photography. We publish an excerpt from her book, "Man as a Social Body," with permission from NLO Publishing House.

The book, "Man as a Social Body: European Photography of the Second Half of the 19th Century," examines photographs of that period that depict representatives of various social classes and professions. The author examines how Europeans' connections with their bodily essence developed.

Alexandra Yurgeneva holds a PhD in cultural studies and is a senior researcher in the artistic aspects of mass media sector at the State Institute of Art Studies.

Society and the Idea of ​​Dynamics: Athletic Bodies in a Snapshot

In this context, two main types of images can be distinguished: competition shots and portrait photographs. In both categories, the person and their bicycle form a unified whole. In portraits, the owner typically holds the handlebars firmly, while the bicycle is positioned in the foreground or slightly offset to the side, forming a stable composition resembling a triangle or trapezoid. This placement symbolizes the image of a self-confident person who is able to independently "determine the path" both on the road and in life. This archetype of the self-made man, overcoming adversity, replaces traditional images of Victorian men. The conflict between generations, as well as differences in physical practices, is vividly illustrated by the story of Edmund Dangerfield, one of the founders of the cycling magazine Cycling, which began publication in 1891 and is now called Cycling Weekly. His success in cycling had a negative impact on his relationship with his father, who was a manufacturer.

The bicycle significantly increased the radius of human everyday travel, making travel through rural areas areas more accessible to city dwellers. This new mobility provided by the bicycle also had a significant impact on certain professions, such as postmen, doctors, and rural priests.

"On this terrible device he, a city dweller, made his way into the countryside, which at that time remained almost unexplored territory for the typical city dweller."

Bristol Cyclists' Club and Tri-Cyclists. A Victorian Cyclist.

Undoubtedly, photographs of cyclists are usually taken outdoors. However, even in studio settings, clients often pose with bicycles against picturesque landscapes with artificial trees or bushes. Such shots create the illusion of a "natural environment" for cyclists. As evidence of how oppressive city life could be and how important it was to escape to nature, it is worth recalling a note from a Manchester Guardian writer, published in 1895. It describes his meeting with a man who spent most of his days in a small shop filled with leather goods. The man enthusiastically shares his recollection of his Sunday ride: "What a wonderful day! I shall always remember that moment. One day I had to stop and dismount, for my heart swelled with joy when I saw the violets growing in bunches by the roadside." Bicycles offered the opportunity to move quickly and change experiences without requiring significant physical effort, especially compared to running. The German sports physician F. A. Schmidt noted that for many women, fifteen miles by bicycle was a perfectly manageable distance, while they struggled to cover even five on foot. He continued, arguing that cycling was the best form of physical activity for those who would otherwise remain at home. Cyclists could enjoy a variety of landscapes while covering long distances. The image of a cyclist closely echoes the concept of the body as "an image reflecting and analyzing various influences" described by Henri Bergson in his work "Matter and Memory" (1896): it is a dynamic body, constantly interacting with new objects and reacting to changes in the environment.

This active readiness for action is clearly evident in photographs of women cyclists, who, posing for pictures, not only confidently hold the handlebars, but also wear clothes unusual for their time: either short skirts or wide bloomers, known as "bicycle pantaloons."

By the beginning of the 20th century, a specialized cycling suit had taken its final form, consisting of a short jacket worn over a men's-style shirt, and wide trousers known as bloomers.

Kapustina D. The Influence of the Popularity of the Bicycle on the Evolution of Women's Sportswear in the Late Nineteenth - Early Twentieth Century.

A Telegram channel for photography enthusiasts.

...and strives to understand how diverse this field can be. Follow us: we feature talented Russian writers, track international competitions, and receive creative advice from experts.

Public perception of men's clothing in women's wardrobes is often negative. Therefore, a photograph depicting such an interpretation becomes a true protest against established norms, representing a powerful statement of self-righteousness. One woman, strolling through the city in a "functional dress," shared her impressions:

"... Eight people showed a keen interest in the whereabouts of my tailor, and even more wanted to know the name of my hatter. Suddenly, a scruffy boy rushed past and asked me: 'Could you please give me some matches, sir?'" A little further on, on the sidewalk, a barber, stepping up, offered, "Shave, sir?"..."

Chains of Freedom: The Impact of the Bicycle on Britain in the 1890s.

Schmidt, as one of the representatives of medical discourse, already then expressed the idea of ​​​​the importance of comfortable clothing, emphasizing that the needs of the body should be a priority. He noted that a "practical" dress, for example, with a short skirt, is a real blessing even for those women who do not cyclize. The bicycle played a significant role in the lives of women, giving them the opportunity not only to take long trips but also to gain a kind of personal space during travel, which they were deprived of using the train or taxi. A woman could not only independently choose her own route but also avoid unwanted contact and close proximity to fellow travelers, which was inevitable when using public transport. However, as previously shown, the only way to protect a cyclist from negative reactions from others was to wear an uncomfortable traditional dress. The newspaper Sport im Bild described an incident that occurred near London, where a priest and his wife, dressed in a pantsuit, rode a two-seater bicycle to church. This caused outrage among the parishioners, but the priest responded that he could not help but strive for the best for his wife, concluding his speech with the aphorism: "What a woman wants, God wants."

It is interesting to note that the image of a woman on a bicycle has become a theme in the world of erotic photography. In the archive of Uwe Scheid, one can find a series of images taken in an art studio, in which completely nude models pose against the backdrop of a painted landscape depicting a city street. Here, two models are perched on a flower-covered two-seater bicycle, one poses on a tricycle, and a third recreates the scene of a bicycle fall. Thus, the free-spirited spirit of female cyclists is represented through a highly sexualized image. However, it's worth emphasizing that without a corresponding public interpretation of women riding bicycles, this imagery would hardly have emerged.

For our topic, snapshots that capture episodes of bicycle races are especially significant: how athletes prepare for the start or race along the track. In a photograph taken during the first women's race in England, as well as in other images of the event, one can see the cyclists leaning in unison with their bicycles, adopting the characteristic stance of racers striving for high speed. In another shot, where cyclists are at the start, they grip tightly to the low handlebars, their feet already on the pedals, and their coaches support this seamless combination of man and machine, ready to take off at any moment. Even in portraits taken in studios, athletes often adopt a riding pose, looking through the handlebars in the direction of their intended movement. In such images, the human figure merges harmoniously with the bicycle, creating a sense of unity between man and its mechanism. These photographs reflect the positive side of automation, where machinery becomes a source of liberation for humans, and for women in particular. However, opponents of cycling perceived it as a step backwards for modern humans, endowed with the gift of upright walking; for them, the posture on a bicycle was associated with animal behavior. At the same time, images of riders on various bicycle models have survived: from the "penny-farthing" with a huge front wheel and a small rear wheel, produced since 1870, to stable tricycles, two-seater tandems, three-seater triplets, a tandem with a "luggage rack" for a baby and, finally, the most modern bicycle of that time, the "Wanderer" with a chain transmission, which began to be produced in 1884. This gallery of different types of bicycles illustrates the evolution of this means of transport and emphasizes the idea of ​​technological progress, which develops in harmony with people, bringing them happiness.

Read also:

Ivan Filatov is a photographer who captures freedom.

A Telegram channel for photography enthusiasts.

...and strives to understand how diverse this field can be. Join us: we present talented Russian writers, track international competitions, and share creative tips from experienced professionals.