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Performing Portraiture: Picturing the Upper-Class English Woman in an Age of Change, 1890–1914 by Susan Elizabeth Slattery

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Performing Portraiture: Picturing the Upper-Class English Woman in an Age of Change, 1890–1914 by Susan Elizabeth Slattery Performing Portraiture: Picturing the Upper-Class English Woman in an Age of Change, 1890–1914 by Susan Elizabeth Slattery A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department of Art History University of Toronto ©Copyright by Susan Elizabeth Slattery 2019 Performing Portraiture: Picturing the Upper-Class English Woman in an Age of Change, 1890–1914 Susan Elizabeth Slattery Doctor of Philosophy Department of Art History University of Toronto 2019 Abstract This dissertation examines the use of portraiture by upper-class women of Britain in the period 1890—1914 as a means to redefine gender and class perception and to reposition aristocratic women as nostalgic emblems of a stable past and as symbols of a modern future. Through a range of portraiture practices, upper-class women promoted themselves as a new model for a continuing upper class that fulfilled a necessary social function in the altered circumstances of the new century. The period 1890—1914 was an era of change that challenged the existing social structure in Britain, destabilizing the hereditary entitlement of the ruling class and questioning the continuing role and relevance of the upper class. In the same period, changes in the technology of print and photography meant that, for the first time, there was the ability to disseminate portrait images through mass media on an economical basis, leading to a proliferation of illustrated journals and magazines. These circumstances provided an opportunity for upper-class women to reimagine the social and political potential of portraiture. ii My analysis examines different forms of media through intensive case studies arguing a progression from a traditional static image to a fluid interdisciplinary performative portraiture practice. In the first chapter I consider the aristocratic practice of pencil portrait drawings as a symbol of past values. In the second chapter I address the new technology of halftone images and the consequent desire for new forms of portrait images for publication. I argue that upper-class women seized this opportunity to transform the aesthetic of portraiture and to translate a new form of public persona into a platform for political involvement. In the third chapter I consider the advent of the snapshot photograph and the resulting change to ideas of privacy and awareness of forms of self-presentation. Finally, in the fourth chapter I look at the matrix of the upper-class woman, fashion, and the theatre through the perspective of portraiture as a performative practice facilitating the transformation of the upper-class woman into a new type of style celebrity that formed the basis for the celebrity culture of contemporary society. iii ACKNOWLEDGEMENT As I finally conclude the long process of writing this dissertation, I am conflicted with a mix of emotions. Paramount is the relief and astonishment that this project has finally been successfully completed, a state of affairs that would never have been achieved without the continuing encouragement and assistance of my Committee. I have been exceptionally fortunate in having a Committee that has been engaged, responsive, and constructive and I offer my boundless thanks to Professors Alison Syme, Jordan Bear, and Lawrence Switzky. Although later arrivals to the thesis, my external advisers, Professors Alison Matthews David and Joseph Clarke, were instrumental in refining the final product and I appreciate the time and attention required to read and productively comment on this massive tome. However, without diminishing my appreciation to all, I have to specifically note the extraordinary assistance of Professor Alison Syme. She read endless drafts, corrected my grammar without judgment, and offered just the right amount of guidance and structure. I also want to thank my family, especially Ray, Michael, Brydne, and Anna, for their emotional and financial assistance over the long period of my return to academics. They listened to my continuing dramas as I relearned past skills and struggled with the demands of an ever-changing and always opaque technology. Thank you to Margaret English who harboured me in the Art Library for many years as I worked on this thesis and to Peter Foden who guided me through the archives of Belvoir Castle. All images drawn from the archives of Belvoir Castle have been included with the permission of the owners. The other emotion that overwhelms me at this time is the nostalgia for a lovely and special opportunity to go back and redo my education. Very few people are given the opportunity for a do-over. Only after years of working to a time clock can you truly appreciate the luxury and the pleasure of being able to research, to read, to think, and to write for its own sake. iv TABLE OF CONTENTS Abstract .................................................................................................................................... ii ACKNOWLEDGEMENT ............................................................................................................. iv TABLE OF CONTENTS ................................................................................................................ v LIST OF FIGURES ...................................................................................................................... vi Introduction: Prefacing the Performance of Portraiture .......................................................... 1 Chapter One: Drawing on the Past ......................................................................................... 59 Chapter Two – Portraits, Philanthropy, and Politics ............................................................. 134 Chapter Three: Youth, Beauty and Celebrity ........................................................................ 203 Chapter Four – The Act of Portrayal ..................................................................................... 286 Conclusion: Fashioning the Future ....................................................................................... 376 BIBLIOGRAPHY ...................................................................................................................... 384 Introduction Images ............................................................................................................. 370 Chapter One Images ............................................................................................................. 381 Chapter Two Images ............................................................................................................. 411 Chapter Three Images .......................................................................................................... 446 Chapter Four Images ............................................................................................................ 487 Conclusion Images ................................................................................................................ 549 v LIST OF FIGURES Fig. 0.1 The Tatler, no. 548, December 27, 1911 Fig. 0.2 The Tatler, no. 59, August 13, 1902 Fig. 0.3 “Lady Raglan in Coronation Robes,” The Sphere, August 16, 1902 Fig. 0.4 The Bystander, July 11, 1906 Fig. 0.5 The Bystander, June 19, 1907 Fig 0.6 The Tatler, no. 365, June 24, 1908 Fig. 0.7 The Bystander, August 10, 1910 Fig. 0.8 The Bystander, August 10, 1910 Fig. 0.9 Portrait of Lucy Percy, Countess of Carlisle, Anthony van Dyck, 1637, Tate (London) Fig. 0.10 Portrait of Mary Isabella Somerset, 4th Duchess of Rutland, Sir Joshua Reynolds (copy by Robert Smirke), 1799 (copy made in 1816), location unknown Fig. 0.11 The Tatler, No. 24, December 11, 1901 Fig. 1.1 Lady Ulrica Duncombe, Duchess of Rutland, pencil on paper, 1890. Russell-Cotes Art Gallery & Museum Fig. 1.2 Mrs. George Batten, Duchess of Rutland, pencil on paper, 1893. Russell-Cotes Art Gallery & Museum Fig. 1.3 Pamela Plowden, Duchess of Rutland, pencil on paper, 1893. Russell-Cotes Art Gallery & Museum Fig. 1.4 Lady Randolph Churchill, Duchess of Rutland, pencil on paper, 1894. Russell-Cotes Art Gallery & Museum Fig. 1.5 Mrs. George Batten, J.S. Sargent, oil on canvas, 88.9 x 43.2 cm, 1897. Metropolitan Museum of Art Fig. 1.6 The Golden Stairs, Sir Edward Burne-Jones, oil on canvas, 2.69 x 1.17 m, 1880. Tate (London) vi Fig. 1.7 Portrait of Pamela Wyndham (later Tennant), Duchess of Rutland, pencil on paper, 1895. Russell-Cotes Art Gallery & Museum Fig. 1.8 Nina Welby (later Cust), Duchess of Rutland, pencil on paper, c. 1890. Russell-Cotes Art Gallery & Museum Fig. 1.9 Helen, Sir Edward J. Poynter, oil on canvas, 91.7 x 71.5 cm, 1881. Art Gallery New South Wales Fig. 1.10 Violet Manners, G.F. Watts, oil on canvas, 1879 Fig. 1.11 Reverie, G.F. Watts, oil on canvas, 1881 Fig. 1.12 Charlotte Tennant (later Ribbesdale), Duchess of Rutland, pencil on paper, c. 1890. Russell-Cotes Art Gallery & Museum Fig. 1.13 Duchess of Rutland, James Jebusa Shannon, oil on canvas, 1898. Belvoir Castle Fig. 1.14 Self Portrait, Duchess of Rutland, pencil on paper, c. 1890. Russell-Cotes Art Gallery & Museum Fig. 1.15 The Finding of Medusa. Sir Edward Burne-Jones, oil on canvas, 1888-1892. Staatsgalerie Stuttgart Fig. 1.16 Preliminary Drawing for The Beguiling of Merlin, Sir Edward Burne-Jones, pencil on paper, 1871 Fig. 1.17 Mrs. J Baghot, Duchess of Rutland, pencil on paper, 1890. Russell-Cotes Art Gallery & Museum Fig. 1.18 Lady Dixon Poynder, Duchess of Rutland, pencil on paper, 1895. Russell-Cotes Art Gallery & Museum Fig. 1.19 “The Lady in the Lake,”
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