Women in the Visual Arts Exam 2

Emily Mary Osborn, Nameless and Friendless, 1857

"The most ingenious of all Victorian widow pictures." It depicts a recently bereaved woman attempting to make a living as an artist by offering a picture to a dealer, while two "swells" at the left ogle her. English painter of the Victorian era. She was best known for her pictures of children and her genre paintings, especially on themes of women in distress.

Francesca Alexander, Roadside Songs of Tuscany, 1868-82

American illustrator, author, and translator from the Italian. Close friends with John Ruskin.

NEED TO KNOW: Anna Klumpke, Rosa Bonheur, 1898

American painter from Boston who met Bonheur in 1887 while serving as a translator for an American art collector. Klumpke and Bonheur became close friends in the last year of Bonheur's life. Gifted to Met from the artist, in memory of Rosa Bonheur in 1922. Klumpke returned to France in 1898 to execute a portrait of Rosa Bonheur (1822-1899), the French animalier whom she had long admired. Shown at her easel, Bonheur wears on her jacket her medal of the Order of the Legion of Honor.

Claude Raguet Hirst, Companions, 1895

American painter of still lifes. She was the only woman of her era to gain acclaim using the trompe-l'œil ("fool the eye") technique. While Hirst's work was commissioned by a men's club in Chicago, she offers a subtle criticism of the male pursuits of gambling and drinking.[12] Most of the bottles are empty, implying that heavy drinking has taken place. The sugar cubes and sliced lemon suggest that one of the liquors is absinthe, "considered the 'cocaine' of the nineteenth century." The overturned bottles, the cards strewn about the table and the abandonment of a pyramidal composition create a sense of disarray in the work.

Jennie Brownscombe, Love's Young Dream, 1887

American painter, designer, etcher, commercial artist and illustrator. Brownscombe studied art for years in the United States and in Paris. She was a founding member, student and teacher at the Art Students League of New York. She sold the reproduction rights to more than 100 paintings, and images of her work have appeared on prints, calendars and greeting cards. Her works are in many public collections and museums. In 1899 she was described by New York World as "one of America's best artists."

Margaretta Angelica Peale, Still Life with Watermelon and Peaches, 1828

American painter, one of the Peale family of artists. The daughter of James Peale, she was the sister of Sarah Miriam Peale, Anna Claypoole Peale, and Maria Peale. She was taught by her father, and painted primarily still-lifes, many of which were copies of his work. Stylistically, her paintings are reminiscent of his.

Sarah Miriam Peale, Mrs. Charles Ridgeley Carroll, c. 1822

American portrait painter, one of the notable family of artists descended from the miniaturist and still-life painter James Peale, who was her father and Mary Claypoole, who was her mother. Miriam Peale is noted as a portrait painter, mainly of politicians and military figures. Lafayette sat for her four times.

Vinnie Ream Hoxie, Abraham Lincoln, 1871

American sculptor. Her most famous work is the statue of Abraham Lincoln in the U.S. Capitol rotunda.

Anne Whitney, Roma, 1890

As with many other early, successful 19th century women sculptors, Whitney came from a supportive and liberal - in her case, Unitarian - family background. Traveled throughout Europe.

Rosa Bonheur, Colonel William F. Cody, 1889

Bonheur is widely considered to be the most famous female painter of the nineteenth century.

Louisa Lander, Nathaniel Hawthorne, 1858

Born into successful artist family in America. She sought commissioned work in Washington, D.C. At age 19 she went to Rome. Lander became close to the Hawthorne family in Italy but slanderous gossip about her character led the Hawthornes to break with her. According to the rumors, Lander had worked as a nude model.

Louisa Lander, Virginia Dare, 1858-59

Born into successful artist family in America. She sought commissioned work in Washington, D.C. At age 19 she went to Rome. Lander became close to the Hawthorne family in Italy but slanderous gossip about her character led the Hawthornes to break with her. According to the rumors, Lander had worked as a nude model.

NEED TO KNOW: Elizabeth Thompson Butler, Scotland Forever, 1881

British painter, one of the few female painters to achieve fame for history paintings, especially military battle scenes, at the end of that tradition. Some of her most famous military scenes come from the Napoleonic Wars, but she covered most major 19th-century wars and painted several works showing the First World War. She married Lieutenant General Sir William Butler, becoming Lady Butler. Depicts the start of the charge of the Royal Scots Greys, a British cavalry regiment that charged alongside the British heavy cavalry at the Battle of Waterloo in 1815. In actuality, it appears that Scots Greys never started the charge at a gallop, due to the broken ground, and instead advanced at a quick walk. The horses which dominate the picture are the heavy grey mounts used by the regiment throughout its history until mechanization. Two hundred men and 224 horses of the Greys were killed or wounded during the charge portrayed.

Julia Margaret Cameron, Pomona, 1872

Cameron often depicted her female subjects as characters in literary or biblical narratives.

Julia Margaret Cameron, Alfred, Lord Tennyson, 1865

Cameron's photographic career was short, spanning eleven years of her life (1864-1875). She took up photography at the relatively late age of 48, when she was given a camera as a present.[2] Her style was not widely appreciated in her own day. Cameron's friendship with Tennyson led to him asking her to photograph illustrations for his Idylls of the King. These photographs are designed to resemble oil paintings from the same time period, including rich details such as historical costumes and intricate draperies. Today, these posed works are sometimes dismissed by art critics.

Anna Blunden, The Seamstress, 1854

Depicts overworked and exploited seamstress. Exhibits annually at both RA and SBA from 1854 until 1867

Edith Hayllar, Feeding the Swans, 1899

Edith Parvin Hayllar (1860-1948) was a British artist who painted Victorian genre scenes. She learned painting from her father, James Hayllar who also taught her three sisters Jessica, Kate and Mary. Edith is considered the most successful of the sisters as she exhibited at the Royal Academy, the Society of British Artists, the Institute of Oil Painters, and the Dudley Gallery. Quit painting when she got married. The scenic portrait of the people leisurely feeding swans and drinking tea gives off a serene and ordered tone, which acted as a direct response to the atmosphere Hayllar was living in at the time. The 19th century was a time of social unrest. There were many movements fighting for women's rights.

Elizabeth Siddal, Self-Portrait, 1853-54

English artists' model, poet and artist. She was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood, including Walter Deverell, William Holman Hunt, John Everett Millais (including his notable 1852 painting Ophelia) and her husband, Dante Gabriel Rossetti. She featured prominently in Rossetti's early paintings of women. Self portrait differs from traditional depictions of Siddal.

NINETEENTH CENTURY PHOTOGRAPHY AND CERAMICS Anna Atkins, Lycopodium Flagellatum (algae), c. 1840-59

English botanist and photographer. She is often considered the first person to publish a book illustrated with photographic images. Some sources claim that she was the first woman to create a photograph.

Kate Greenaway, Misses, 1879

English children's book illustrator and writer. Greenaway's paintings were reproduced by chromoxylography, by which the colors were printed from hand-engraved wood blocks.

Kate Greenaway, Study of Rock, Moss & Ivy, 1885

English children's book illustrator and writer. Greenaway's paintings were reproduced by chromoxylography, by which the colors were printed from hand-engraved wood blocks.

Evelyn de Morgan, The Captives, c. 1905-10

English painter whose works were influenced by the style of the Pre-Raphaelite movement. She was a follower of Pre-Raphaelist Burne-Jones. Her paintings exhibit spirituality; use of mythological, biblical, and literary themes; the role of women; light and darkness as metaphors; life and death; and allegories of war. The Captives possibly represents her feelings on her limited social position, the dragons could symbolize the patriarchy, English society, etc.

Helen Allingham, Young Customers, 1875

English watercolour painter and illustrator of the Victorian era.

NEED TO KNOW: Beatrix Potter, Peter Rabbbit, 1902

English writer, illustrator, natural scientist, and conservationist best known for her children's books featuring animals, such as those in The Tale of Peter Rabbit. Born into a privileged household, Potter was educated by governesses and grew up isolated from other children. She had numerous pets and spent holidays in Scotland and the Lake District, developing a love of landscape, flora and fauna, all of which she closely observed and painted. The immense popularity of Potter's books was based on the lively quality of her illustrations, the non-didactic nature of her stories, the depiction of the rural countryside, and the imaginative qualities she lent to her animal characters.

Maria Longworth Nichols, Rookwood, Cincinnati, 1892

Founder of Rookwood Pottery of Cincinnati, Ohio, United States, a patron of fine art and the granddaughter of the wealthy Cincinnati businessman Nicholas Longworth. Founded RP as a result of being inspired by what she saw at the Centennial Exhibition in Philadelphia, including Japanese and French ceramics.

NINETEENTH CENTURY EUROPEAN PAINTING Rosa Bonheur, Ploughing in the Nivernais, 1848

French artist, an animalière (painter of animals) and sculptor, known for her artistic realism. Her most well-known paintings are Ploughing in the Nivernais, first exhibited at the Paris Salon of 1848, and now at Musée d'Orsay in Paris.

Camille Claudel, Bust of Rodin, 1892

French sculptor and graphic artist. She died in relative obscurity, but subsequently gained recognition for the originality of her work.

Camille Claudel, The Gossips, 1896

Had an intimate relationship with Rodin. After 1905 she became incredibly mentally ill.

Harriet Hosmer, Daphne, 1853

Harriet Goodhue Hosmer was a neoclassical sculptor, considered the most distinguished female sculptor in America during the 19th century. Among other technical innovations, she pioneered a process for turning limestone into marble

Harriet Hosmer, Puck, 1855

Harriet Goodhue Hosmer was a neoclassical sculptor, considered the most distinguished female sculptor in America during the 19th century. Among other technical innovations, she pioneered a process for turning limestone into marble

NINETEENTH CENTURY SCULPTURE Harriet Hosmer, Zenobia in Chains

Harriet Goodhue Hosmer was a neoclassical sculptor, considered the most distinguished female sculptor in America during the 19th century. Among other technical innovations, she pioneered a process for turning limestone into marble

Margaret Macdonald Mackintosh, Photograph portrait, c. 1900

Margaret Macdonald Mackintosh was a Scottish artist whose design work became one of the defining features of the "Glasgow Style" during the 1890s.

Edmonia Lewis, Cleopatra, 1876

Mary Edmonia Lewis was an American sculptor who worked for most of her career in Rome, Italy. She is the first woman of African-American and Native American heritage to achieve international fame and recognition as a sculptor in the fine arts world.

Edmonia Lewis, Henry Wadsworth Longfellow, 1871

Mary Edmonia Lewis was an American sculptor who worked for most of her career in Rome, Italy. She is the first woman of African-American and Native American heritage to achieve international fame and recognition as a sculptor in the fine arts world.

Edmonia Lewis, The Old Arrow Maker and his Daughter, 1872

Mary Edmonia Lewis was an American sculptor who worked for most of her career in Rome, Italy. She is the first woman of African-American and Native American heritage to achieve international fame and recognition as a sculptor in the fine arts world.

NEED TO KNOW: Edmonia Lewis, Forever Free, 1867

Mary Edmonia Lewis was an American sculptor who worked for most of her career in Rome, Italy. She is the first woman of African-American and Native American heritage to achieve international fame and recognition as a sculptor in the fine arts world.

Clementina, Lady Hawarden, Untitled, 1863-64

Noted portrait photographer of the Victorian Era, producing over 800 photographs mostly of her adolescent daughters. Hawarden's pictures raise significant issues of gender, motherhood, and sexuality as they relate to photography's inherent attachments to loss, duplication and replication, illusion, fetish.

Lilly Martin Spencer, The Young Husband: First Marketing, 1854

One main critique of her work is the variation in the size of the heads of her figures. Her reviewers often comment that the head is larger and disproportionate to the body size of the figures.

Lilly Martin Spencer, Kiss Me and You'll Kiss the 'Lasses!, 1856

One of the most popular and widely reproduced American female genre painters in the mid-nineteenth century. She painted domestic scenes, women and children in a warm happy atmosphere. Although she did have an audience for her work Spencer had difficulties earning a living as a professional painter and was in perpetual state of financial turmoil.

Fidelia Bridges, Milkweeds, 1861

One of the small number of successful female artists in the 19th and early 20th centuries. She was a painter and illustrator, capturing small aspects of nature: flowers, birds, and other plants in their natural settings. She first was an oil painter and later took up watercolor painting. She was known for her delicately detailed paintings. She was considered an expert and specialist in watercolor painting. She was the only woman in the group of seven notable 19th-century artists in the American Watercolor Society. Her illustrations were published in books, magazines and were used for greeting cards.

Margaret Macdonald Mackintosh, The White Rose and the Red Rose, 1902

Painted gesso over hessian, with glass beads

IMPRESSIONISM Cecilia Beaux, New England Woman, 1895

Portrait of Mrs. Jedidiah H. Richards (Beaux's cousin Julia Leavitt).

NEED TO KNOW: Rebecca Solomon, The Governess, 1854

Rebecca was one of eight children born into an artistically-inclined Jewish merchant family in east London. Solomon's artistic style was typical of popular 19th century painting at the time and falls under the category of genre painting. She used her visual images to critique ethnic, gender and class prejudice in Victorian England. When Rebecca started painting genre scenes, her work demonstrated an observant eye for class, ethnic and gender discrimination. One critic commented on the wholesome, moral and sometimes humanizing sentiment in her art, not an uncommon element in Victorian painting.[4] However, Rebecca's Jewish background was probably instrumental in developing her critical consciousness of difference and prejudice. Perhaps linked to the very popular novel Jane Eyre. The poignant contrast between the employee and the employers daughter in dress, looks and the different male companions make this a significant painting

Adelaide Alsop Robineau, Scarab Vase, 1910

Recognized as one of the most important American ceramists of the late 19th and early 20th century American Arts and Craft Movement. Her work is noteworthy as she was one of the few women to make her pots "from clay to finish", whereas most of the other ceramist focused merely on painting the surface.

Jennie Brownscombe, First Thanksgiving at Plymouth 1621, 1914

She made genre paintings, including revolutionary and colonial American history, most notably The First Thanksgiving held at Pilgrim Hall in Plymouth, Massachusetts.

NINETEENTH CENTURY AMERICAN PAINTING Jane Stuart, George Washington, c. 1850

She was the daughter of renowned painter Gilbert Stuart. After her father's death in 1828, she opened a studio in Boston and started selling paintings, especially replicas of her father's portrait of President George Washington.

Lilly Martin Spencer, This Little Piggy Went to Market, 1857

Spencer exhibited her paintings at the National Academy of Design and was represented at the Women's Pavilion of the Philadelphia Centennial Exhibition in 1876. She also produced work for a number of prominent patrons. However, much of Spencer's fame resulted from the widespread sale of inexpensive engraved copies of her oil paintings.

Anna Klumpke, In the Washhouse, 1888

Studied at the Académie Julian intermittently from 1880 until 1888 and worked as a portraitist in Boston. Bonheur and Klumpke became companions at château de By, Bonheur's home near Fontainebleau. Upon Bonheur's death, Klumpke inherited her residence and studio and dedicated herself to promoting Bonheur's legacy.

NEED TO KNOW: Rosa Bonheur, Horse Fair, 1855

The Horse Fair was exhibited at the Salon of 1853 (finished in 1855) and is now in the Metropolitan Museum of Art, in New York City.

NEED TO KNOW: Elizabeth Siddal, Lady Clare, 1858

The literary reference for this painting was Tennyson's Lady Clare from Poems (1842). Siddal may have first seen the poem in a newspaper, and her interest in the poet eventually led her, Millais, Hunt, Rossetti, and others to illustrate his 1857 edition of Poems. There may be a personal connection to this poem and watercolor for Siddal. A fear of being rejected for marriage by D.G. Rossetti may have been a lingering fear due to their class difference.

NEED TO KNOW: Lilly Martin Spencer, We Both Must Fade, 1869

The painting depicts a young female looking in a mirror. The title offers a view of woman in society, which applied at least during the mid-19th century, commenting on concepts of the importance of beauty of women and their role in society.

NEED TO KNOW: Julia Margaret Cameron, Ophelia, 1867

The slightly blurred focus also because a distinctive feature of her work, the byproduct of photographing with a lens having a short focal length, which allowed only a small area of sharp focus. The blurriness adds an ethereal, dreamlike tone to the photographs, appropriate for Cameron's fictional "characters". Her photograph of Ophelia has a mysterious, fragile, quality reminiscent of Pre-Raphaelite paintings.

Elizabeth Siddal, Jane Morris's Jewel Casket, c. 1860

This pastiche medieval jewel case may have been Siddal's originally, though it later came into Jane Morris's possession and is now preserved at Kelmscott Manor. It has fourteen small panels though only half still have their original decorations. "One of the scenes, showing two lovers by a rose trellis, derives from a medieval manuscript in the British Museum, the early 15th century Poems of Christine de Pisan.

Elizabeth Thompson Butler, Quatre Bras, 1875

Thompson based the painting on the account of the battle in a book. The painting portrays the 28th (North Gloucestershire) Regiment of Foot, of the British Army, on 16 June 1815, at the Battle of Quatre Bras. The battle, part of the Waterloo Campaign of the Hundred Days, was just two days prior to the Battle of Waterloo. The regiment held off attacks from French cavalry at Quatre Bras. Thompson shows the regiment formed in a square in a field of rye, withstanding attack. The work was exhibited at the Royal Academy Summer Exhibition in 1875, the year after Elizabeth Thompson exhibited her acclaimed The Roll Call. It was bought by the National Gallery of Victoria, Melbourne, Australia, in 1884

Helen Allingham, Redlynch, Wilshire, c. 1891

While Vincent Van Gogh was developing as an artist by studying English illustrated journals he was struck by Patterson's work in The Graphic.

Cecilia Beaux, After the Meeting (Dorothy Gilder), 1914

detail: http://www.bluffton.edu/courses/womenartists/womenartistspw/beaux/meetingdet.jpg American society portraitist, in the manner of John Singer Sargent. She was a near-contemporary of American artist Mary Cassatt and also received her training in Philadelphia and France. Her sympathetic renderings of the American ruling class made her one of the most successful portrait painters of her era.

Alice Barber Stephens, Women in Business, Ladies Home Journal, September, 1897

http://www.arttimesjournal.com/art/Art_Essays/winter_14_rena_robey/woman_in_business_alice_b_stephens.jpg Cover illustration for the September 1897 issue of The Ladies Home Journal, for the magazine's "The American Woman" series.

Violet Oakley, International Unity and Understanding, Pennsylvania State Capitol, Harrisburg, Senate Chamber, completed 1919

https://s-media-cache-ak0.pinimg.com/originals/b2/6f/7f/b26f7fa97fbee5af56b4b70a874ee5ce.jpg The first American woman to receive a public mural commission. During the first quarter of the twentieth century, she was renowned as a pathbreaker in mural decoration, a field that had been exclusively practiced by men. Oakley excelled at murals and stained glass designs that addressed themes from history and literature in Renaissance-revival styles.

Marianne North, Nepenthes Northiana, c. 1876

https://upload.wikimedia.org/wikipedia/commons/1/16/Nepenthes_northiana_by_Marianne_North.jpg Prolific English Victorian biologist and botanical artist, notable for her plant and landscape paintings, her extensive foreign travels, her writings, her plant discoveries and the creation of her gallery at the Royal Botanic Gardens, Kew. From the Bau area of Sarawak, Borneo.