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\Vomen Writers on Art and Perceptions of the Female Connoisseur, 1780-1860 RADAR Research Archive and Digital Asset Repository Women writers on art and perceptions of the female connoisseur, 1780-1860 Caroline E. Palmer (2009) https://radar.brookes.ac.uk/radar/items/5c599990-60b3-4937-a6f9-19bec176b232/1/ Note if anything has been removed from thesis: illustrations after p. 232 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Palmer, C. E. (2009) Women writers on art and perceptions of the female connoisseur, 1780-1860, PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR \Vomen writers on art and perceptions of the female connoisseur, 1780-1860 Caroline Elizabeth Palmer This thesis is submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy Oxford Brookes University January 2009 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk The following has been redacted at the request of the university: Illustrations following page 232 Please contact the university for further information Abstract It has been suggested that women were broadly excluded from the art world of the eighteenth century because of prevailing views on female taste, which considered them incapable of appreciating high art. Satirical representations of women spectators suggest a vulgar mode of art-viewing, associated with a preference for gaudy colour and excessive finish, and for portraiture over history painting, reversing the academic canon. A survey of periodicals reveals that such stereotypes persisted throughout the late eighteenth and nineteenth centuries. However, my investigation of women's writing on art between 1780 and 1860 indicates the extent of their involvement in the art world. Initially through travel-writing, and across an increasingly wide range of genres, women published a wealth of material on art, ranging from popular handbooks and painting manuals to scholarly treatises. This study is the first to focus on these largely neglected texts as a collective body of work, and to demonstrate women's sophisticated engagement with contemporary and historical art in this period. Through their social networks, travel, meticulous research and self-presentation as 'proper' women writers, individuals such as Maria Graham (Lady Callcott), Anna Jameson, Mary Philadelphia Merrifield and Elizabeth Rigby (Lady Eastlake) built up a public reputation, despite their unofficial status. Far from being merely industrious 'compilers', these women were in the vanguard of changes in taste, through their promotion of the Primitives and of German connoisseurship, and their iconographical studies. I investigate how these largely self-educated amateurs established their authority, and how their writing negotiated negative perceptions of the female viewer. I show that the strategies they employed were determined as much by their class, education and religion, as by their sex. Given the high praise these writers received from reviewers, artists and fellow connoisseurs, I argue that it was possible to perceive women's taste far more positively than the satirical stereotypes suggest. This thesis offers a substantial reassessment of the scale and nature of women's contribution to the evolving discipline of art history in the early Victorian period. Contents Acknowledgments 1 List of abbreviations 1 List of illustrations 2 Introduction 6 Chapter 1 'Bright Patronesses all!': perceptions of the female connoisseur in late eighteenth-century England 24 Constructing the ideal viewer 24 Educating the gaze 29 The making of art 32 Fripperies and finery: the problem of women's taste 34 Policing the female gaze 39 'Behold me now a female connoisseur': satirical constructions 42 Conclusion 46 Chapter 2 Empathy and embroidery: women art-viewers In the nineteenth-century press 51 Targeting the female viewer 51 The advantages of 'female' taste? 56 Persistent anxieties: protecting modesty 60 Crinolines and cross-stitch 65 Conclusion 70 Chapter 3 'Fair adventurers' and the authority of travel 74 Anna Miller: an 'Arcadian patroness' in search of 'virtu' 74 Mary Berry: 'artists all the morning' 87 Mariana Starke: a practical guide for the middle classes 89 Conclusion 96 Chapter 4 Art's mission: the centrality of religion 101 Religious virtue as a public face 101 Inner faith and the beauties of nature 103 Scripture for the common people: religious history painting 107 Art as the 'light oflleaven'; Sarah Flower Adams 109 Louisa Twining: from flower-painting to philanthropy 116 Conclusion 120 Chapter S l\Iary Philadelphia Merrificld and the alliance with science 124 Translation and treatises 124 The harmony of colours and commerce 131 From chemistry to corsets: the art of dress 133 Conclusion 136 Chapter 6 Maria Graham and promotion of the Primitives 140 'Finding out another sense': an education in looking 140 Seizing history: Graham's Life ofNicholas Poussin 144 The 'deep, quiet feeling of Giotto' 147 Modest ambition: Essays Towards the History ofPainting 150 Conclusion 157 Chapter 7 Anna Jameson: rise of the 'gentle interpreter' 163 Constructing a career: contacts and strategies 163 Jameson on art 168 Self-presentation as a connoisseur 172 Responses to Jameson: 'as much feeling for art as the cat'? 180 Conclusion 183 Chapter 8 The 'cleverest female now in England': Elizabeth rugby 189 The making of a connoisseur 189 Rigby as a writer on art 194 The modest woman writer and the cloak of anonymity 200 Revealed as a woman 204 Conclusion 206 Conclusion 212 Select bibliography 222 Illustrations 233 Acknowledgments I would like to express my gratitude to the Arts and Humanities Research Council for funding my doctoral research. My thanks also go to Oxford Brookes University, Department of Arts and Humanities, for grants enabling me to give papers at conferences, where I received useful feedback on my ideas. Above all, I would like to thank my supervisor Dr Harry Mount for his excellent advice, inspiration and endless patience, and my second supervisor Dr Christiana Payne for her many helpful comments and constant encouragement. For allowing me to share my research with a wider audience, I thank Dr Catherine Whistler, Senior Assistant Keeper of the Ashmolean Museum, and Dr Marika Leino of the University of Oxford, the conveners of sessions at the AAH conferences in Belfast (2007) and Tate, London (2008), and Dr Gaby Neher at the University of Nottingham. For useful discussions and information, I am grateful to Dr Nancy Jachec, Professor Pat Rubin, Professor Hilary Fraser, Professor Craig Clunas, Dr Rosemary Mitchell, Dr Kim Sloan, Dr Nathalie Aubert, Nat Silver and Fiona Mann, as well as numerous members of staff in the English, History and History of Art departments at Oxford Brookes. For stimulating new trains of thought, thanks go to my fellow research students at Oxford Brookes, and to the Gender and History seminar of the University of Oxford, especially Heather Ellis. I am also indebted to Vanda Morton for sharing with me the fascinating journals of her ancestor Thereza Dillwyn Llewelyn. For vital technical support and tolerance, I am especially grateful to my long-suffering husband, Dr Michael Tombs, and for their understanding and numerous restorative cups of tea, I thank Arthur, Rupert and Henry. This doctorate would never have been undertaken or completed without the unfailing support of my mother, Cathleen Palmer, who first inspired my love of art and fascination with art history. To her and to my favourite father, Michael Palmer, this thesis is dedicated, with love and grateful thanks. List of abbreviations LBA La Belle Assemb!ee BM British Museum, London BWM Bell's Weekly Messenger GM Gentleman's Magazine MR Monthly Repository QR Quarterly Review RA Royal Academy, London 1 List of illustrations 1. Pietro Martini, after Johann Heinrich Ramberg, The Exhibition ofthe Royal Academy, 1787, 1787, hand-coloured etching, 37.8 x 53.2 cm, British Museum, London 2. John Hill, after Thomas Row1andson and Augustus Pugin, Exhibition Room, Somerset House, hand-coloured aquatint from The Microcosm ofLondon (1808) 3. Isaac Cruikshank, The Octagon Room in the Royal Academy ofArts, date unknown, pen, grey ink and watercolour, 9.6 x 12.7 cm, British Museum, London 4. George and Robert Cruikshank, 'A Shilling well Laid Out', colour aquatint from Pierce Egan, Life in London (1821) 5. John Dillwyn Llewelyn, Thereza Llewelyn, 1853, collodion negative, 16.51 x 21.6 cm, Swansea Museum Library 6. J. M. W. Turner, Moonlight, a Study at Millbank, 1797, oil on wood, 31.4 x 40.3 cm, Tate Gallery, London 7. The Auction; or Modern Conoisseurs, published in the Oxford Magazine, November 1771, etching, 17.3 x 10.7 cm, British Museum, London 8. Thomas Rowlandson, sketch ofChristie's auction rooms for The Microcosm ofLondon (1808), pen, ink and watercolour, 20 x 28.4 cm, British Museum, London 9. James Barry, The Distribution ofPremiums by the Society ofArts, 1777-84, oil on canvas, 360 x 462 cm, Royal Society of Arts, London 10. Johan Zoffany, Mr and Mrs Dalton and their Niece, c. 1765-8, oil on canvas, 90.8 x 71.1 cm, Tate Gallery, London 11. The Female Conoiseur, from Caricatures, Macaronies and Characters, published by Matthew Darly, 1772, etching, 17.5 x 12.3 cm, British Museum, London 12. Richard Earlom, after Charles Brandoin, The Exhibition ofthe Royal Academy of Painting in the Year 1771, 1772, mezzotint, 47.2 x 56.6 cm, Royal Academy of Arts, London 13. The Damerian Apollo, published by William Holland, 1789, hand-coloured etching, 24.9 x 30 cm, British Museum, London 14.
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