Download (17Mb)

Total Page:16

File Type:pdf, Size:1020Kb

Download (17Mb) A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/90253 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications WOMEN, REPRESENTATION AND THE SPIRITUAL IN THE WORKS OF THOMAS COOPER GOTCH, ROBERT ANNING BELL AND FREDERICK CAYLEY ROBINSON One Volume Alice Anne Eden A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, Department of History of Art October, 2016 3 Table of Contents Acknowledgements ...................................................................................................... 6 Declaration ................................................................................................................... 8 Abstract ........................................................................................................................ 9 Abbreviations ............................................................................................................. 10 Illustrations ................................................................................................................. 11 Chapter One: Thomas Cooper Gotch ..................................................................... 11 Chapter Two: Robert Anning Bell ......................................................................... 13 Chapter Three: Frederick Cayley Robinson ........................................................... 17 Introduction ................................................................................................................ 22 Modernity ............................................................................................................... 28 Feminism ................................................................................................................ 31 Spirituality .............................................................................................................. 33 Feminism and Spirituality ...................................................................................... 38 Spirituality, Modernity and Art .............................................................................. 44 Methodology .......................................................................................................... 49 Chapter Outline ...................................................................................................... 63 Chapter One: Thomas Cooper Gotch ......................................................................... 65 Introduction ............................................................................................................ 65 Part One: The Child Enthroned, 1894 .................................................................... 66 Part Two: The Dawn of Womanhood, (1900) ......................................................... 89 Part Three: Death the Bride, 1894 ........................................................................ 112 Conclusion ............................................................................................................ 132 Chapter Two: Robert Anning Bell ........................................................................... 134 Introduction .......................................................................................................... 134 Part One: The Arrow, 1909: ................................................................................. 134 Part Two: The Echo, 1915 .................................................................................... 166 Conclusion: The Call of the ‘Feminist Voice’ ..................................................... 198 Chapter Three: Frederick Cayley Robinson ............................................................. 208 Introduction .......................................................................................................... 208 Part One: The Material and Immaterial ................................................................ 209 4 Part Two: Representations .................................................................................... 225 Part Three: Spiritual Viewing ............................................................................... 241 Part Four: Feminism and Spiritual Expectancy .................................................... 267 Conclusion: ‘The Face of a Woman’.................................................................... 284 Thesis Conclusion .................................................................................................... 287 Bibliography ............................................................................................................. 294 Unpublished Material ........................................................................................... 294 Published Primary Sources ................................................................................... 295 Published Secondary Sources ............................................................................... 311 Unpublished Secondary Sources .......................................................................... 330 Images ...................................................................................................................... 331 Chapter One: Thomas Cooper Gotch ................................................................... 332 Chapter Two: Robert Anning Bell ....................................................................... 364 Chapter Three: Frederick Cayley Robinson ......................................................... 398 5 Acknowledgements Firstly, I would like to thank my supervisor, Michael Hatt for his unflinching support, guidance and scholarly example throughout the writing of the thesis and my publications. Michael’s enthusiasm for my work, kind words, good humour, understanding during challenging times and advice, sometimes given at the last minute, have been very much appreciated. I would also like to thank Ruth Livesey for inspiration and help in obtaining my PhD scholarship at Warwick six years ago. And special thanks go to Sarah Turner and Rosie Dias for their encouragement. My research has been aided by many librarians, archivists and curators across the UK. I am grateful for their help and encouragement, especially Susannah Waters and the other staff of the Glasgow School of Art Archives, Adrian Allan, Victoria Osborne and Alison Smith. I am very grateful for the generous funding I have obtained from Warwick University in the form of the Warwick Postgraduate Research Scholarship, the Postgraduate Research Completion Fund as well as for funding received from the Paul Mellon Centre for Studies in British Art. I would like to thank my fellow PhD students at Warwick, who for several years of this project, were a central support network. Thanks go especially to Desiree de Chaire, Claire Fitzgerald, Ann Haughton, Kayoko Ichikawa, Eoin Martin and the staff of the History of Art Department including Louise Bourdua, Julia Brown, Rosie Dias, Karen Lang, Claire Nicholls, Sarah Walford and many others. At Warwick, I would also like to thank the staff of the library, the Graduate School and the Student’s Union Advice Centre, especially Amanda Woodfield for her thoughtful and extensive research and support and the Senior Tutor, Stephen Lamb, for his kindness. These resources were very important during the final, challenging years of completion. Thanks should also go to the staff of the Institute of Advanced Study, Warwick, for supporting the completion of my thesis whilst I began my Early Career Fellowship. I would like to thank my family, my mum and dad, Katy, Chris, my aunts and uncles, especially Auntie Brenda and Uncle Rob for their love and belief in my education and writing. My partner’s family, especially Jen and Dave, have always listened with interest, love and kindness over the years and have provided significant financial support during the last stages, for which I am very grateful. I would like to send love and respect to my mother, who would have been very joyful to see the finished results of my work. Thanks to the friends who have coped with my entire absorption in family and writing for the last few years. During the course of the thesis I have been blessed with the arrival of my daughter. This has meant the last three years have passed in somewhat of a daze of sleeplessness and exhaustion alongside wildly dedicated working periods. I would like to thank my 6 partner, Garrie, for his unswerving and full-hearted support every step of the way and especially in the last couple of years. Having a child to care for has required this to be a team effort; Garrie’s loyalty, sleep deprivation, sincere feminism and unfailing belief in my work, remain priceless. I would like to dedicate the thesis to my daughter, Emmie. Named after Emmeline Pankhurst, I hope you will witness greater improvement in the lives of women. 7 Declaration I declare that this thesis is my own work and that it has not been submitted for a degree at another university. 8 Abstract This thesis examines the works of three ‘forgotten’ British artists, working from the late nineteenth century and well into
Recommended publications
  • KYK-OVER-AL Volume 2 Issues 8-10
    KYK-OVER-AL Volume 2 Issues 8-10 June 1949 - April 1950 1 KYK-OVER-AL, VOLUME 2, ISSUES 8-10 June 1949-April 1950. First published 1949-1950 This Edition © The Caribbean Press 2013 Series Preface © Bharrat Jagdeo 2010 Introduction © Dr. Michael Niblett 2013 Cover design by Cristiano Coppola Cover image: © Cecil E. Barker All rights reserved No part of this publication may be reproduced or transmitted in any form without permission. Published by the Ministry of Culture, Youth and Sports, Guyana at the Caribbean Press. ISBN 978-1-907493-54-6 2 THE GUYANA CLASSICS LIBRARY Series Preface by the President of Guyana, H. E. Bharrat Jagdeo General Editors: David Dabydeen & Lynne Macedo Consulting Editor: Ian McDonald 3 4 SERIES PREFACE Modern Guyana came into being, in the Western imagination, through the travelogue of Sir Walter Raleigh, The Discoverie of Guiana (1595). Raleigh was as beguiled by Guiana’s landscape (“I never saw a more beautiful country...”) as he was by the prospect of plunder (“every stone we stooped to take up promised either gold or silver by his complexion”). Raleigh’s contemporaries, too, were doubly inspired, writing, as Thoreau says, of Guiana’s “majestic forests”, but also of its earth, “resplendent with gold.” By the eighteenth century, when the trade in Africans was in full swing, writers cared less for Guiana’s beauty than for its mineral wealth. Sugar was the poet’s muse, hence the epic work by James Grainger The Sugar Cane (1764), a poem which deals with subjects such as how best to manure the sugar cane plant, the most effective diet for the African slaves, worming techniques, etc.
    [Show full text]
  • Victorian Paintings Anne-Florence Gillard-Estrada
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects.
    [Show full text]
  • The Sexual Politics of Meat by Carol J. Adams
    THE SEXUAL POLITICS OF MEAT A FEMINISTVEGETARIAN CRITICAL THEORY Praise for The Sexual Politics of Meat and Carol J. Adams “A clearheaded scholar joins the ideas of two movements—vegetari- anism and feminism—and turns them into a single coherent and moral theory. Her argument is rational and persuasive. New ground—whole acres of it—is broken by Adams.” —Colman McCarthy, Washington Post Book World “Th e Sexual Politics of Meat examines the historical, gender, race, and class implications of meat culture, and makes the links between the prac tice of butchering/eating animals and the maintenance of male domi nance. Read this powerful new book and you may well become a vegetarian.” —Ms. “Adams’s work will almost surely become a ‘bible’ for feminist and pro gressive animal rights activists. Depiction of animal exploita- tion as one manifestation of a brutal patriarchal culture has been explored in two [of her] books, Th e Sexual Politics of Meat and Neither Man nor Beast: Feminism and the Defense of Animals. Adams argues that factory farming is part of a whole culture of oppression and insti- tutionalized violence. Th e treatment of animals as objects is parallel to and associated with patriarchal society’s objectifi cation of women, blacks, and other minorities in order to routinely exploit them. Adams excels in constructing unexpected juxtapositions by using the language of one kind of relationship to illuminate another. Employing poetic rather than rhetorical techniques, Adams makes powerful connec- tions that encourage readers to draw their own conclusions.” —Choice “A dynamic contribution toward creating a feminist/animal rights theory.” —Animals’ Agenda “A cohesive, passionate case linking meat-eating to the oppression of animals and women .
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Download Our Guide To
    BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland.
    [Show full text]
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • Men in the Fiction of D
    il.Lk'q\ "ANOTHER KIND OF LOVE": THE DYNAMICS OF LOVE AND POWER BETWEEN MEN IN THE FICTION OF D. H. LAWRENCE. Kym McCauley B.A. (Hons.) Thesis submitted for the degree of Master of Arts. Department of English The University of Adelaide December 1993 At onde cl, \At f1 Errata. "'Another Kind of Love': The Dynamics of Love and Power Between Men in the Fiction of D.H. Lawrence" by Kym McCauley' p.3 for compliment read comqlement p.10 for Lawrence's' read Lawrence's p.19 for order read establishment p. 20 for advise read advice pp. 22, 23n.,48, 50, 51, 54, 55, 64, 93 and 122 in each instance for Ctitch read Crich p. 35 for Morels' read Morel's p. 36 for lljre drags...fire. read [He drags...fire'] for weeks read week's p. 38 for Morels' read Morel's for fatherc' read father's p. 45 for rclaces read rePlaces p. 51 for Brennen read Brennan p. 52 for womens' read women's p. 53 for womens' read women's for her children read their children p. 59 for contribution read contributions p. 68 for discerned read distinguished p. 100 for principal read PrinciPle p. 107 for Gran Ellis' (second occurrence) read Gran Ellis p. 109 /or Somers (first occurrence) read Somers' Declaration This thesis contains no material which 'has been accepted for the award of any other degree or diploma at any university and, to the best of my knowledge and belief, it contains no material written or published by another person except where reference is made in the text.
    [Show full text]
  • Artwork of the Month April 2020 'Nameless and Friendless' by Emily Mary Osborn
    Artwork of the Month April 2020 ‘Nameless and Friendless’ by Emily Mary Osborn (1828-1925) Small Version of ‘Nameless and Friendless’; the larger version in Tate Britain was exhibited at the Royal Academy in 1857; the York version acquired 1997 with Art Fund support and a grant of £3000 from the Friends. Emily Mary Osborn (1828-1925) The origin of York Art Gallery’s collection lies in the gift in 1882 of 126 nineteenth-century (that is, at the time modern) paintings by the eccentric collector John Burton, who gives his name to the Burton Gallery; the gift included such Victorian favourites as Edward Matthew Ward’s ‘Hogarth’s Studio in 1739’. The Victorian period saw a dramatic increase in the number of registered women fine artists, from fewer than 300 in the census of 1841 to 3,700 in 1901 (for male artists the numbers are 4000 and nearly 14,000). Here Dorothy Nott, a former Chair of the Friends whose PhD at the University of York was on the work of the distinguished battle painter Elizabeth Thompson, Lady Butler (who incidentally narrowly missed by two votes becoming the first elected female Associate Member of the Royal Academy) writes about a remarkable small painting by a woman artist of the period in the Gallery’s collection. In 1844, when Sarah Stickney Ellis published her manual The Family Monitor and Domestic Guide, she advised her women readers not to excel at any one activity. Instead, she argued for a tolerable standard in a wide range of accomplishments. Her reasons were twofold, first, to ensure at least a basic knowledge of a variety of topics so as to facilitate social intercourse and, secondly, to prevent women from posing a threat to their male counterparts.
    [Show full text]
  • History 100 Years Since the 1911 Railway Strike, Alex Gordon, RMT
    History 100 years since the 1911 Railway Strike, Alex Gordon, RMT news August 2011 http://bristol.indymedia.org.uk/article/705569 (accessed 18/02/21012) 1916: Unionists had considered armed rebellion, Alex Kane, The Irish News, 19th March 2016, http://www.irishnews.com/news/easterrising/2016/03/26/news/1916-unionists-had-considered- armed-rebellion-443434/ (acessed 7/7/2016) 1919 Britain’s year of revolution, Simon Webb, Pen & Sword Books, 2016 1919 Police Strike in Liverpool, http://www.liverpoolpicturebook.com/2012/10/PoliceStrike1919.html (accessed 08/03/2014) A “Lingering Diminuendo”?: The Conference on Devolution 1919-1920, (PhD Thesis submitted to Cardiff University) Adam B Evans http://orca.cf.ac.uk/82389/ (accessed 7/7/2016) A domestic rebellion: the squatters movement of 1946, Howard Webber, (pdf file) http://humanities.exeter.ac.uk/media/universityofexeter/collegeofhumanities/history/exhistoria/ volume4/Webber-Squatters_movement.pdf (accessed 12/04/2014) A Naval History of World War I, Paul G. Halpern, Naval Institute Press, 1995 Anarcho-Syndicalism, Rudolf Rocker (6th Edn), AK Press, 2004 Art in Revolution: Liverpool 1911 revisited, Blog post, 2011, http://gerryco23.wordpress.com/2011/07/05/art-in-revolution-1911-revisited/ (accessed 16/02/2012) At war with the Bolsheviks, The allied intervention into Russia 10171917-1920, Robert Jackson, Tom Stacey, 1972 Bakunin's heirs in South Africa: race and revolutionary syndicalism from the IWW to the International Socialist League, 1910-1921, Lucien Van der Walt, 2005, https://libcom.org/history/bakunin%E2%80%99s-heirs-south-africa-race-revolutionary-
    [Show full text]
  • 291 Index © in This Web Service Cambridge
    Cambridge University Press 978-0-521-89515-6 - The Cambridge Companion to the Pre-Raphaelites Edited by Elizabeth Prettejohn Index More information INDEX Adam Bede (Eliot), 19 ‘Art and Industry in the Fourteenth Century’ ‘Adieu’ (‘Wavering whispering trees’) (Morris), 207 (D.G. Rossetti), 95 Art and Poetry: Being Thoughts towards Adoration of the Kings and Shepherds Nature, Conducted principally by (Burne-Jones), 237–8 Artists, 3, 83. See also The Germ Adoration tapestry (Morris & Co.), 219–20 ‘The Art Catholic’, 166 Aesthetic Movement Art Journal, 38, 39 Brown, 148, 160 ‘Art News from London’ (W.M. Rossetti), Hunt, 42, 74 257 Morris, 216 ‘The Art of the People’ (Morris), 207 The Age of Rossetti, Burne-Jones and Watts: ‘Art Under Plutocracy’ (Morris), 207 Symbolism in Britain 1860–1910 269 Arts and Crafts movement, 40, 213, 218 Aids to Reflection (Coleridge), 71 Arundel Society, 35, 39 Albrecht Dürer on the Balcony of his House Aspecta Medusa (D.G. Rossetti), 28 (Scott), 40 Astrophel and Other Poems (Swinburne), Allingham, William, 16, 19–20, 57, 191–2 240–1 The Altar, or Meditations in Verse on Atalanta in Calydon (Swinburne), 27, 238, the Great Christian Sacrifice 244 (Williams), 167 The Athenaeum, 80, 161 American exhibition of Pre-Raphaelite Atlantic Monthly, 258 art, 258 ‘August’ (Swinburne), 243–4 ‘Anactoria’ (Swinburne), 242 Aurora Leigh (E.B. Browning), 17 Angel in the House (Patmore), 17 Autobiographical Notes (Scott), 238 Angiolieri, Cecco, 90 Autumn Leaves (Millais), 142–3, 256 The Annunciation (Tintoretto), 22, 35 ‘Ave’ (D.G. Rossetti), 93–4 antiquarianism, 33 The Awakening Conscience (Hunt), 39, 121, Brown, 151–2 124–5, 128, 251 Morris, 196 Aylott and Jones, 83 ‘Antwerp and Bruges’ (D.G.
    [Show full text]
  • 3. Pre-Raphaelite Brotherhood
    • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 1 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • PDF Download 2.9MB
    WOMEN ACT! THE TRAGEDIAN’S DAUGHTERS FLORA CLICKMANN TWO TENNIS STARS DANGEROUS WOMEN – MAD OR BAD? MRS MAURICE LUBBOCK MARIE CHARLOTTE CARMICHAEL STOPES ANNIE BESANT TWO WOMEN ARTISTS No. 221 SUMMER www.norwoodsociety.co.uk 2018 CONTENTS WOMEN ACT! P 1 THE TRAGEDIAN’S DAUGHTERS P 3 FLORA CLICKMANN P 10 TWO TENNIS STARS P 12 DANGEROUS WOMEN – MAD OR BAD? P 16 MRS MAURICE LUBBOCK P 26 MARIE CHARLOTTE CARMICHAEL STOPES P 29 ANNIE BESANT P 33 TWO WOMEN ARTISTS OF UPPER NORWOOD P 34 PLANNING REPORT P 44 ANNUAL REPORT P 46 LOCAL HISTORY – FORTHCOMING EVENTS P 49 Special thanks to Barbara Thomas for co-ordinating this edition of the Review. EXECUTIVE COMMITTEE Chairman Committee Stuart Hibberd [email protected] Anna-Katrina Hastie Vice Chairman Planning Matters Jerry Green Marian Girdler Philip Goddard (Acting) Treasurer (Contact through Secretary) Stuart Hibberd [email protected] Secretary Local History/Walks/Talks Stephen Oxford, 9 Grangecliffe Alun and Barbara Thomas Gardens, London, SE25 6SY [email protected] [email protected] 020 84054390 Membership Secretary: Ruth Hibberd membership@norwood EDITOR: Stephen Oxford society.co.uk Website: www.norwoodsociety.co.uk Registered with the Charity Commission 285547 Norwood Review Summer 2018 WOMEN ACT! On 6 February 2018 celebrations took place to commemorate one hundred years since the Representation of the Peoples Act. The Museum of London has put on a free exhibition ‘Votes for Women’ which runs until 6 January 2019. The Museum itself holds items collected from suffragette activity. Also, in 2018 the LSE Library (now home of the Women’s Library) began ‘A Centenary Exploration’ with events and activities, and another free exhibition from 23 April to 27 August.
    [Show full text]