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A C C Jj P T Iiid ACCjJPTiiiD FACULTY OF GRAHUATF qTnn,r?HE "NEW WOMAN" IN FIN-DE-SIECLE ART: tS FRANCES AND MARGARET MACDONALD by 1ATF _______________' i2 Janice Valerie Helland ~ --- ------ B.A., University of Lethbridge, 1973 M.A., University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY : in the Department of History in Art We accept this thesis as conforming to the required standard _________________ Dr. Ej^Tumasonis, Supervisor (Department of History in Art) Dr. J. Osborne, Departmental Member (Department of History in Art) Dr. A. Wel<gj)^*DepartmentaI Member (Department of Histor^in Art) Dr. A. McLa^fen, Outside Member (Department of History) _________________________________________ Dr. A. Fontaine, Outgj.de Member (Department of Biology) ________________________________________ Dr. B./Elliott, External Examiner (University of Alberta) ® JANICE VALERIE HELLAND, 1991 University of Victoria All rights reserved. Thesis may not be reproduced in whole or in part, by mimeograph or other means, without the permission of the author. 11 Supervisor: Dr. E, Turoasonis ABSTRACT Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland's answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siècle. they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female exper,i*nce and that they must be understood as such if we, as historians, are to discuss their art. Like many other women artists from this period, the Macdonalds relied heavily upon so-called feminine imagery. This could be flower painting, "dainty" landscapes, pictures of children or pictures of "lovely" women. The Macdonalds strayed from conventional meaning, however, and made pictures of women that, while retaining the mystery of symbolism, presented the viewer with contextually accurate representations of women who were bound and restricted by a society that had not yet allowed women the vote. I suggest that these representations be considered in the light of recent theoretical developments in feminist literary criticism and feminist film theory iii which give credence to women as producers of culture while remaining aware that culture is a patriarchal construction. My contention is that if we can comprehend the patriarchal construct of woman during the fin-de-siScle then we may be able to understand how the Macdonalds (and other women like them) strayed from this representation and made their own images (perhaps in their own likeness or at least in the likeness of their situation). Knowledge about how women's experience was integrated into the visual language may lead us to a greater understanding of that experience and its subsequent production as art and, in addition, may bring about a greater valuation of women's experience and its representation. Examiners: _________ Dr. E. Tuma^onis, Supervisor (Department of History in Art) Dr. J. Osborne, Departmental Member (Department of History in Art) Dr. A. We artmental Member (Department of History in Art) Dr. A. McL^i?en, Outside Member (Department of History) Dr. A. Fontaine, Outside Member (Department of Biology) Dr. B./Eyliott, External Examiner (University of Alberta) IV TABLE OF CONTENTS Introduction............................................ 1 Chapter One ............................................ 19 Newbery's Early Career........................... 21 Nineteenth Century Glasgow....................... 26 The Glasgow School of Art and Haldane Academy, 1888-90............................ 41 The 1890-91 Academic Year........................ 48 The 1891-92 and 1892-93 Academic Years.......... 65 The Final Year of Registration...................73 Chapter Two: The Early Watercolours...................76 The Final Year at the Glasgow School of Art 76 The Critics....................................... 83 The Early Watercolours........................... 96 Girl in the East Wind with Ravens Passing the Mo o n ..................................... 98 Summer........................................... 114 The Fountain..................................... 125 Chapter Three: The Studio Years...................... 132 The Posters...................................... 137 The Yellow Book ..................................146 The 1896 Arts and Crafts Exhibition............. 152 The Hope Street Studio Art ..................... 169 The Vienna Secession, 1900...................... 177 Chapter Four: Frances Macdonald MacNair............. 184 The Liverpool Years............................. 197 The Glasgow Years................................210 Chapter Five: Margaret Macdonald Mackintosh......... 239 Margaret Macdonald's Watercolours, 1900-1913,.,247 The Chelsea Years................................278 The Last Watercolours........................... 286 The Last Years in France........................289 Chapter Six: Conclusion.............................. 295 Bibliography.......................................... 319 LIST OF ILLUSTRATIONS Figure 1: Frances Macdonald. Programme for a Glasgow School of Art Club "At Home," c.1893. Lithograph or line block. 13.1 x 15.6. Hunterian Art Gallery, Glasgow. Figure 2: Frances Macdonald. A Pond. 1894. Pencil and watercolour on grey paper. 32.0 x 25.8.Glasgow School of Art, Glasgow. Figure 3: Frances Macdonald. Girl in the East Wind with Ravens Passing the Moon. 1893. Watercolour. 518 x 427. Hunterian Art Gallery, Glasgow. Figure 4: Margaret Macdonald. Summer. 1894. Pencil, ink and watercolour. 51.7 x 18. Hunterian Art Gallery, Glasgow. Figure 5: Frances and Margaret Macdonald. The Fountain, c.1894. Watercolour. 41.2 x 16.4. Hunterian Art Gallery, Glasgow. Figure 6: William Holman Hunt. The Triumph of the Innocents.c.1885. Walker Art Gallery, Liverpool. Figure 7: Matthijs Maris. The Foundling. 1874. Burrell Collection, Glasgow. Figure 8: Charles Rennie Mackintosh, "Design for some finger plates," in The Bailie. 7 June 1893, p.9. Figure 9: Margaret Macdonald. Invitation card for a Glasgow School of Art "At Home", c.1893. Lithograph or line cut. 13.1 x 15.6. Hunterian Art Gallery, Glasgow. Figure 10: C. F. A. Voysey. Design for a Wall-Paper Frieze. 1893. In The Studio. Vol.l, 1893. Figure 11: Giovanni Segantini. The Punishment of Luxerv. 1891. Walker Art Gallery, Liverpool. Figure 12: Margaret Macdonald. "The Annunciation" from The Christmas Storv. c.1895-6. Pencil, watercolour, gold and silver paint on vellum sheet. 32.4 x 23.0. Hunterian Art Gallery, Glasgow. Figure 13: Frances Macdonald. The Sleeping Princess. C.1895. Pastel. 190 X 464. Glasgow Art Gallery and Museum, Kelvingrove, Glasgow. VI Figure 14: Frances Macdonald. Autumn. 1898. Pencil and watercolour on vellum. 454 x 147. Glasgow Art Gallery and Museum, Kelvingrove, Glasgow. Figure 15: Frances Macdonald. Spring. 1897. Watercolour on vellum. 442 x 131. Glasgow Art Gallery and Museum, Kelvingrove, Glasgow. Figure 16: Margaret Macdonald. Summer. 1897. Watercolour on vellum. 451 x 205. Glasgow ArtGallery and Museum, Kelvingrove, Glasgow. Figure 17: Margaret Macdonald. Winter. 1898. Pencil and watercolour on vellum. 472 x 196. Glasgow Art Gallery and Museum, Kelvingrove, Glasgow. Figure 18: Frances Macdonald, Margaret Macdonald, Charles Rennie Mackintosh, Herbert MacNair. The Scottish Room at the Vienna Secession, 1900. As reproduced in Dekorative Kunst. Vol. Vll, 1901. Figure 19: Frances Macdonald. The Legend of the Snowdrops. 1900. Gouache painting. 185.0 x 55.0. National Museums of Scotland, Edinburgh. Figure 20: Frances Macdonald. The Frog Prince. c.l898. As reproduced in Dekorative Kunst, 1901. Figure 21: The MacNair room at the First International Exhibition of Modern Decorative Art, Turin, 1902. As reproduced in Dekorative Kunst. Vol.X, 1902. Figure 22: Frances Macdonald. 'Tis a long path that wanders to desire, c.1912-15. Watercolour and pencil on vellum. 35.2 x 30.1. Private Collection. Photograph courtesy of the Hunterian Art Gallery, Glasgow. Figure 23: Frances Macdonald. Man. makes the beads of life but woman must thread them, c.1912-15. Watercolour. 34.3 x 29.2. Private Collection. Photograph courtesy of the Hunterian Art Gallery, Glasgow. Figure 24: Frances Macdonald. Prudence and Desire, c.1912-1915. Watercolour. 34 x 29.4. Private Collection. Photograph courtesy of the Hunterian Art Gallery, Glasgow. VII Figure 25: Frances Macdonald. Woman behind the Sun, c.1912-15. Watercolour. 34 x 29.4. Private Collection. Photograph courtesy of the Hunterian Art Gallery, Glasgow. Figure 26: Margaret Macdoiald. The Pool of Silence, 1913. Watercolour and ink. 75.8 x 63.5. Private Collection. Photograph courtesy of the Hunterian Art Gallery, Glasgow. Figure 27: Margaret Macdonald. The Sleeper. Untraced work. Photograph from Deutsche Kunst and Dekoration. 1905. Figure 28: Margaret Macdonald. The Mysterious Garden. 1911. Watercolour and ink on vellum. 45.7 x 48.3. Private Collection. Photograph courtesy of the Hunterian Art Gallery, Glasgow. Figure 29: Margaret Macdonald. The White Rose and the Red Rose, before 1909. Painted gesso set with string, glass beads and shell. 99.0 x 101.5. Private Collection. Photograph courtesy of the Hunterian Art Gallery, Glasgow. Figure 30: Margaret Macdonald.
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