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Sylvia Pankhurst Memorial Lecture
Sylvia Pankhurst Memorial Lecture Wortley Hall August 2014 Edited transcript of a talk by The Emily Davison Lodge Philippa Clark: Every year we try and find a speaker who is linked to our movement but who will also broaden our vision because sometimes we can get so focused on our campaigning and specific objectives that we forget about the wider picture. Earlier this year I went to an exhibition at Tate Britain in London of Sylvia Pankhurst’s paintings which made me remember that first and foremost Sylvia’s training was in art and that her original mission had been to be an artist. At the exhibition I read that there had been two dynamic women who had lobbied the Tate in order to get the work on public display. Fortunately, the sisters all thought that it would be a good idea to have them deliver this year’s lecture. So, we’re absolutely delighted that they can tell us in person about Sylvia Pankhurst the artist and why they lobbied for the exhibition. Hester and Olivia are multi-disciplinary artists who collaborate together under the umbrella of something called ‘The Emily Davison Lodge’ - that's Emily Wilding Davison, the suffragette who died trying to pin the flag on the king’s horse. They research and make artworks to re-historicise - which I thought was a good word - the suffragettes, in particular looking at the artists involved in the campaign and the role of militancy. Hester is going to give the talk and Olivia is going to join her at the end to answer any questions. -
Mary and George Watts, Can Be Viewed As A
The following extract has kindly been provided by Dr Lucy Ella Rose, from her published work Suffragists Artists in Partnership. Edinburgh University Press (2018), Chapter 1 - Mary and George Watts. We are grateful to Lucy for allowing this to be used as part of ‘The March of the Women’ project resource. Practice and Partnership Much has been written about the famous Victorian artist George Watts, and yet the life and work of Mary Watts, and the couple’s progressive socio-political positions as conjugal creative partners and women’s rights supporters, are comparatively neglected. Long-eclipsed by the dominant critical focus on her husband, and known primarily as the worshipping wife of a world-famous artist, Mary was a pioneering professional woman designer and ceramicist as well as a painter, illustrator and writer. Despite her prominence in her own lifetime, she is little-known today. The lack of critical and biographical material on her is disproportionate to the originality, high quality and multi-faceted nature of her oeuvre, encompassing fine art, gesso relief, sculpture, ceramic and textile design, and architecture. Art historian Mark Bills’s chapter on the Wattses in An Artists’ Village: G. F. Watts and Mary Watts at Compton (Bills 2011: 9–23) incorporates the brief sections ‘Married Life’ and ‘A Partnership’, and yet they perpetuate rather than challenge traditional views of the couple. The former section presents Mary ‘in awe of [George], overwhelmed by his reputation […] as devoted and admiring as ever […] in her subservient role’ (2011: 14–15). Bills alludes to, without contesting, the popular public perception of Mary as George’s ‘nurse’ and ‘slave’ who ‘worshipped him blindly’ (2011: 15-16). -
Womanandhersphere « Woman and Her Sphere
Woman and her Sphere womanandhersphere This user hasn't shared any biographical information Homepage: http://womanandhersphere.wordpress.com Suffragette Autograph Album To Be Auctioned: Save It For The Nation – And Future Researchers Posted in Collecting Suffrage on December 8, 2012 A very interesting autograph album is to be auctioned by Dominic Winter Auctions (http://issuu.com/jammdesign/docs/dw_12.12.2012_low_res? mode=embed&layout=http://skin.issuu.com/v/dark/layout.xml&showFlipBtn=true) on Wednesday, 12 December 2012. How I wish it would be bought by a British library or museum so that all researchers would have access to it. It would be an ideal fit in the collections of either the Museum of London or the Women’s Library. Neither, alas, are likely to be bidding. Is there any other institution that could come to the rescue? Below is the entry from the Dominic Winter catalogue. (http://womanandhersphere.com/2012/12/08/suffragette-autograph-album-to-be-auctioned-save-it- for-the-nation-and-future-researchers/suffragette-autograph-album/)Lot 380* Suffragettes. A rare and historically important autograph album containing approx. fifty autographs of suffragettes and sympathisers, 1909 and later, but many dated from the time of the WSPU’s second window-breaking campaign, March/May 1912, the majority signed below quotations and epithets relating to the cause, written mostly in pen and occasionally pencil and inscribed to thirty-four leaves (mostly rectos) with some leaves blank, prisoner (?) pencil number 94472186/3 to front free endpaper, contemp. cloth, rubbed and soiled, oblong small 8vo, 11 x 14.5 cm, together with an Edwardian 9ct gold circular locket, engraved with initials M.E.P. -
SPML 2010 V3
© V. Irene Cockroft 13th August 2010 pp1-18; RichExhib10_Pankhurst Sylvia lecture Web.word doc 2010 Sylvia Pankhurst Memorial Lecture Essay based on the Eighth Lecture in the series sponsored by the National Assembly of Women, the Sylvia Pankhurst Memorial Committee and Wortley Hall near Sheffield Speaker and writer V. Irene Cockroft Sylvia Pankhurst in the context of her radical family background Others Sylvia Pankhurst (1882-1960) was a gifted artist, and a leading protagonist in the fight for women’s right to vote in Parliamentary elections. Sylvia was born in Manchester. She was the child of a politically radical family; that is, a family dedicated to change for public good – for others – regardless of how unpopular members’ views might be with established authority. Both Sylvia’s paternal and maternal sets of grandparents as well as her parents took an active interest in public affairs. The concept of putting the greater good before self-interest was the underpinning of Sylvia’s life as it was for the many women – and men – who together wrought the early twentieth century women’s revolution. This analysis attempts to set Sylvia the person in context as both the victim and beneficiary of the radical ethos, in what must be one of the most turbulent eras in human history. For brevity, much of the complex Sylvia story must be excluded. The most intriguing aspect of Sylvia’s tumultuous tale is in its ending. Sylvia’s parents Emmeline (1858-1928) and doctor of law and barrister Richard Marsden Pankhurst (1835-1898) seem to have been driven by society’s needs, never sparing time for their own. -
Text of an Illustrated Talk Delivered by Simon Butler at the South West Academy Open Exhibition 17.12.2018 PHOTO 1 Flaming Ju
Text of an illustrated talk delivered by Simon Butler at the South West Academy Open Exhibition 17.12.2018 PHOTO 1 Flaming June Frederick Lord Leighton 1895. Although I have include a good deal about Olive Hockin (on whose life my book Land Girl Suffragette is based) in this talk, in view of the significance of this month which commemorates 100 years since the end of the First World War I’ve widened the scope to use Olive’s life to represent the circumstances faced by many women artists emerging from the Victorian era and into the decade running up to the Great War. I start with this painting – ‘Flaming June’ painted by Sir Frederic (Lord) Leighton in 1895. I include it here for two reasons: first because it represents the idealised view of a woman as seen through male Victorian eyes – alluring, sexy even, but it overt sexuality disguised through its classical allusion. The second reason for including it is that the painting was cho - sen by Jeremy Maas as the cover illustration for his excellent book Victorian Painters , first published in 1969, but remaining a seminal work on the subject. Now, call me obsessive but in preparing for this talk I counted in the index the total number of artists included in the book. There are 381 names. Anyone like to guess how many women appear? Well it’s 11 – just under 3 per cent. And this is no reflection of prejudice on Maas’ part – it pretty fairly repre - sents how the nineteenth century establishment and society as a whole saw ‘serious’ painting as excluvisely a male preserve.