INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality I illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 OUT OF THE HANDS OF ORATORS: MARY LOUISE MCLAUGHLIN, ADELAIDE ALSOP ROBINEAU, THE AMERICAN ART POTTERY MOVEMENT, AND THE ART EDUCATION OF WOMEN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Janette Marie Jelen Knowles, M.A. ***** The Ohio State University 1 9 9 7 Dissertation Committee: Approved by Professor Arthur Efland, Adviser Professor Jacqueline Chanda A dvis< Professor Patricia Stuhr Department of Art Education UMI Number: 9813289 UMI Microform 9813289 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Janette Marie Jelen Knowles 1997 ABSTRACT The aim of this dissertation is to examine Mary Louise McLaughlin and Adelaide AIsop Robineau, seminal figures in the American Art pottery movement, and their contributions to the art education of women. The dissertation is a historical analysis of the conditions in which both developed professionally, information which is placed in two contexts: (1) the context of the British Arts and Crafts Movement, and the historical roles women have played in this field, and (2) the sociocultural milieu of 19th century America, with particular attention to the issues of the Protestant Work Ethic, the Colonial Revival, and developments in the Arts and Crafts industry. Both McLaughlin and Robineau acknowledged the plight of the American women in the 19th century, who, after the Civil War and during a long period of westward expansion, were much more on their own, forced to fend for themselves financially in numbers higher than ever before. McLaughlin and Robineau sought, through a variety of educational means, to provide the late 19th and early 20th century woman with life options. Primarily this was achieved through education in the ceramic arts, by which a woman could make a decent wage while engaging in a respectable livelihood. McLaughlin and Robineau presented women with the tools they needed in the form of their own hands, and bade them step foot into the world of industry and transform it by their very presence. lU Dedicated to Sebastian and Sophie “The lily is an herb with a white flower. And though the leaves of the flower be white yet within shineth the likeness of gold.” —Bartholomaeus Anglicus, 13th century IV ACKNOWLEDGMENTS I wish to thank my adviser. Dr. Arthur Efland, for first encouraging the pursuit of this topic in my first doctoral seminar in art education, and for his patience, wisdom, and infectious love of history. I’d also like to thank Dr. Jacqueline Chanda and Dr. Patricia Stuhr for their support and encouragement throughout this project, and for acting as such wonderful role models to young women in the field. I’d like to give a special note of thanks to Dr. Myroslava Mudrak and Dr. E. Louis Lankford for encouraging me to pursue doctoral studies in Art Education. The Columbus Museum of Art arranged financial matters regarding the completion of this degree, which was greatly appreciated. Thanks especially to Carole Genschaft and the docents of the Columbus Museum of Art, whose kind words of support, lovely letters, and occasional bars of chocolate certainly helped sustain me emotionally during this project, and who kept me on my toes intellectually. Professionally, I’d like to thank my husband. Dr. Sebastian Knowles, for his editorial services, and personally, for his unflagging support. Without him, this project would never have come to fruition. I must thank my parents, Sandra and Lawrence Jelen, for keeping the faith in my graduate education over these years. Lastly, I must extend a very long-awaited thank you to my late grandmother, Ann, for putting out the paints and buying me second-hand art books, encouraging a young girl from the country that art was the most noble of pursuits. VI VITA 1 9 6 6...................... Born - Medina, Ohio 198 8 .................... B.A. in Art History (Honors Magna Cum Laude), Kent State University 1 9 9 1...................... M.A. in Art History (Major Area: Contemporary Art), The Ohio State University M.A. Thesis: The woman as vessel: A correlation of the treatment of the female form in the ceramic work of Pablo Picasso and Rudy Autio 1 9 8 8 -1 9 9 1 .... Teaching Assistant, Department of Art History, The Ohio State University 1 9 9 2 -1 9 9 3 .... Museum Educator, J. Paul Getty Museum, Santa Monica, California 1993-1996.... Director and Principal Teacher of Family Programs, Wexner Center for the Arts 1996-present.. Educator for Docent and Public Programs, Columbus Museum of Art 1997-present.. Adjunct Faculty, Department of Art, Ohio Dominican C ollege Vll PUBLICATIONS 1. Roy Lichtenstein and the art of pop: A guide for children and families. (1996). Educational booklet for the Wexner Center for the Arts. 2. Robert Frank: The Am ericans: A guide for children and families. (1995). Educational booklet for the Wexner Center for the Arts. 3. Fluxus and multimedia. (1994, Spring). Columbus Art. 1. 4. Exploring the architecture of the Wexner Center for the Arts. (1994). Educational booklet for the Wexner Center for the Arts. 5. “In the Spirit of Fluxus”: A guide for children and families. (1994). Educational booklet for the Wexner Center for the Arts. 6. Louis 1. Kahn: A guide for children and families. (1993). Educational booklet for the Wexner Center for the Arts. 7. The transition of the Adire cloth from a traditional to a contemporary medium. (1989). With D. Caldwell. Pamphlet for the Toronto Textile Museum. FIELDS OF STUDY Major Field: Art Education Specializations Feminist History of Art Education within Major Field: Museum Education Early Childhood Art Education Minor Fields: Contemporary Art Art and Anthropology via TABLE OF CONTENTS Page A b s tr a c t .............................................................................................................................ii D edication ...........................................................................................................................iv Acknowledgments ...............................................................................................................v V it a .....................................................................................................................................vii List of Figures ...............................................................................................................xiii P r e fa c e ................................................................................................................................ 1 Justification of Methodology ........................................................................I On Feminism ...................................................................................................... 5 On H isto ry ...........................................................................................................7 On Biography .....................................................................................................II Closing Thoughts ............................................................................................14 Chapters: 1. I n tr o d u c tio n ....................................................................................................... 16 Introduction to the Arts and Crafts Movement 18 Mary Louise McLaughlin ..................................................................... 20 Adelaide Alsop Robineau ..............................................................22 A Justification of the Study of Mary Louise McLaughlin and Adelaide Alsop Robineau in the Context of the Discipline of Art Education .................................24 2. Of Paintresses and Potters: Women’s Involvement in the English and American Art Pottery Industries in the Nineteenth Century and Earlier ...............................................................28 IX A History of Women’s Involvement in Pottery Production