Neo-Pre-Raphaelitism: the Final Generations
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Neo-Pre-Raphaelitism: The Final Generations Amanda B. Waterman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Susan Casteras, Chair Stuart Lingo Joseph Butwin Program Authorized to Offer Degree: Art History ©Copyright 2016 Amanda B. Waterman University of Washington Abstract Neo Pre-Raphaelitism: The Final Generations Amanda B. Waterman Chair of the Supervisory Committee: Professor Susan P. Casteras Art History The Pre-Raphaelite Brotherhood was a group of seven young men who wanted to rebel against the teachings and orthodoxies of the Royal Academy. It was a short-lived movement, beginning in 1848 and ending in the early 1850s, but this dissertation will argue that their influence lived on and inspired a group of artists who were working at the turn of the century and well into the twentieth-century. This dissertation is unprecedented; it is the first publication which aims to specifically categorize certain artists whose oeuvres are indebted to various generations of Pre-Raphaelitism. In short, I am characterizing these artists and thereby dubbing them “Neo-Pre-Raphaelite,” channeling an early twentieth-century description of some of these artists. The most obvious reason to refer to them by this term is that they are stylistically and/or thematically linked to members of the original PRB or later generations / manifestations of Pre-Raphaelitism. The individuals on whom I am focusing are all British and produced Pre-Raphaelite inspired work from roughly 1895-1950. Consequently, the parameters within which I am working are threefold; firstly, the artists were exhibiting in the late 1880s/1890 – 1920 (a Neo-Pre-Raphaelite period that overlapped for most of them); secondly, those whose work echoed that of the Pre-Raphaelite Brotherhood; and thirdly, persons having a working relationship with Edwin Austin Abbey—an American artist who was in a unique position to be a hybrid between the earlier PRB and these younger artists. Accordingly, the investigated artists are: Frank Cadogan Cowper, John Liston Byam Shaw, Eleanor Fortescue-Brickdale, John William Waterhouse, and Thomas Cowper Gotch. There is an additional investigation that establishes a Neo-Pre-Raphaelite classification which could exist outside of Abbey. This alternate combination was directly connected to Pre- Raphaelitism through Edward Burne-Jones, and demonstrated a visual indebtedness to both the Pre-Raphaelites and the artist—these devotees applied the unique Burne-Jonesian style to favorite subjects of the PRB. For the purposes of this dissertation, this supplementary circle has been termed “outliers”—in that they met the same aforementioned criteria but did not share an alliance with Abbey—including: Marie Spartali Stillman, Kate Bunce, Evelyn Pickering de Morgan, Sidney Meteyard, and John Melhuish Strudwick. DEDICATION To my Bubba Mary Pogorzelski Smith (1922-2008) You always said my time would come To my Parents For their constant love, support and perspective For walking with me every step on this road and cheering me along the way You made my dream a reality ACKNOWLEDGMENTS This dissertation evolved as an extension from my Master’s Thesis Frank Cadogan Cowper: The Last Pre-Raphaelite. Over the course of massive research, I realized that there were others, as described in this dissertation, who continued the Pre-Raphaelite style into the twentieth-century. These Neo-Pre-Raphaelites ought to be thanked first and foremost; for, without whom, this opus could not exist. Because of our many years together, countless hours of researching, writing and editing, and the familiarity that results from it, I feel justified that they would graciously grant permission for me to dispense with formalities and henceforth refer to them on a first name basis. Artistic muses aside, I wish to express my deepest and sincerest appreciation to all of those who took an active interest in my research and supported both it and me along the way. Above all, it is with great thanks to my Dissertation Advisor and Committee Chair, Professor Susan Casteras, for being my mentor and editor. She has been a constant source of encouragement, a vast font of knowledge, and a patient but persistent advisor who went to extraordinary lengths to push for the excellence she expected and of which I was capable. Professor Casteras was right, of course, in her motto that “great ideas happen over pastrami sandwiches” and to that end, ideas were formed, new considerations addressed, and challenging questions were posed over lunches and Pepsis. I am proud and honored to have been her advisee for the entirety of my graduate career and am a better person and academic for it. To my other supportive Committee Members, Professor Joseph Butwin and Professor Stuart Lingo, I thank you for all the positive encouragement along the way and for adding insights from your own respective specialties. Perhaps the most difficult part of the dissertation process is the paperwork, detail-oriented questions, and logistical matters that occur at the most inopportune time. Ann Langford-Fuches, you are a doctoral candidate’s academic advisor dream come true. Thank you for navigating me through the paperwork, finding solutions and making contingency plans when needed. Traveling to the objects was of vital importance to my research. I am grateful to the Division of Art History for the awarded Pell Grants as well as the most generous Luce American Art Dissertation Research Award, which allowed me to travel to the Yale Art Gallery and explore the Edwin Austin Abbey Memorial Collection. The time at Yale was invaluable and it is with special appreciation that I acknowledge Tanya Pohrt (paintings department), who not only took me through the off-site facility that houses Abbey’s vast material, but also for her generous offer of assisting in additional research. Lucy Gellman (prints and drawings department) was generous with her time and schedule, making it possible to examine certain Abbey preparatory sketches and chalk drawings. My contact at the Yale Center for British Art was kindred spirit Lisa Thornell-Gargiulo. A fellow Pre-Raphaelite enthusiast, she retrieved works by Rossetti, Millais, and Hunt after my appointment had ended so that the objects could be viewed and appreciated. It was a rare and enjoyable opportunity to explore such an extensive collection in person. And thank you to Professor Timothy Barringer for sharing a copy of his publication on Byam Shaw and our exchanges about the artist. As would be expected, much of the research and examining of objects took place in England. Since I had maintained my contacts after our initial meetings during earlier research trips for the MA degree, they were delighted to continue their help and most generous with their time. At the Royal Academy, deepest thanks go to Archivist Mark Pomeroy who kept me aware of new correspondence relevant to my research that was accessioned into their collection over the past eight years; as well as Rachel Hewitt, who continually allowed me into storage and pulled the Diploma works of Cowper and Abbey for my viewing and research pleasure. Her generosity permitted me ample time to examine the objects and for that, this art historian considers herself most lucky. Additionally, the Deputy Curator of the House of Commons, Parliament, Melanie Unwin, has been unfailingly generous and willing to assist with any inquiries in regards to the murals. I have been granted special access to the King’s Corridor, the Archives of the 1908 Mural Program, as well as additional documentation she believed to be of use. Gotch’s work was primarily found in one institution in Kettering, England -- the Alfred East Gallery. Special thanks to curator Katie Boyce for granting me access to Gotch’s works in storage as well as carte blanche with the accompanying archival material. It was through this connection that I was given special permission as well as a personal copy of Adam Gotch’s privately published “Gotch Family of Kettering 1755-1964” which not only had primary source and anecdotal material on T.C. Gotch and his family, but also personal photographs which otherwise would not have been available to any scholar. Finally, to my family-- sister Heather, aunt Lanna, friends Jayme and Sarah, and my Beloved Intended, Terry—all of whom walked with me during this marathon. There are no words to express my gratitude and love for your unconditional support during the difficult times and the long-distance cheering during the easier ones. There were shoulders on which to cry, fresh eyes and ears to look and listen to my arguments or queries, hugs to give and receive, and that much needed “last push”—all of which helped me to summit Mount Dissertation. For that and everything else, I am eternally grateful. And in the words of our sweet Jason, “we did it!” During your times of trials and sufferings, When you saw only one set of footprints, It was then that I carried you. -- Excerpt from Footprints I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference. --- Robert Frost TABLE OF CONTENTS PAGE List of Figures ……………………………………………………. ii Introductory Overview …………………………………………….. 1 Chapter 1: Pre-Raphaelitism and Beyond …………………………..18 Chapter 2: Edwin Austin Abbey …………………………………... 37 Chapter 3: Abbey and the Pre-Raphaelite Legacy ……………….... 59 Chapter 4: The King’s Corridor ………………………………….... 80 Chapter 5: Frank Cadogan Cowper …………………………….… 108 Chapter 6: John Liston Byam Shaw………………………………. 138 Chapter 7: Eleanor Fortescue-Brickdale …………………………. 169 Chapter 8: John William Waterhouse ……………………………. 184 Chapter 9: Thomas Cooper Gotch …………………………….… 203 Chapter 10: Outliers ……………….……………………….…….. 233 Chapter 11: Conclusion …………………………………….……. 265 Bibliography ……………………………………………………... 274 Please note that the electronic version of this dissertation does not include images.