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Reconsidering Professionalism: Women, Space and Art in England, 1880-1914 Maria Patricia Quirk Bachelor of Arts (Hons 1A)

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Reconsidering Professionalism: Women, Space and Art in England, 1880-1914 Maria Patricia Quirk Bachelor of Arts (Hons 1A) Reconsidering Professionalism: Women, Space and Art in England, 1880-1914 Maria Patricia Quirk Bachelor of Arts (Hons 1A) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2015 School of Historical and Philosophical Inquiry 1 Abstract The expansion of women’s participation in the fine and illustrative arts occurred concurrently to the professionalisation of those fields, but women’s relationship with artistic professionalism was fragile and ill defined. Their pathways towards “becoming” professional did not universally conform to the criteria and benchmarks that had come to represent the professional artist ideal. The fact that professional women artists were primarily middle-class in origin further complicated their relationship with traditional understandings of female labour; the working experiences of middle-class, female workers were difficult for their contemporaries to categorise and remain elusive today. This thesis examines what happened when middle-class women artists used their education and talent for the purposes of earning a living, rather than for pleasure and refinement. It defines what qualifications, attributes and achievements women needed to possess in order to separate themselves from the ubiquitous cultural stereotype of female amateurism, and be recognised by their peers and the broader public as professionals—that is, serious practitioners who dedicated their working lives to the production of art. The framework of professionalism is thus utilised for the purposes of assessing which of its standards and markers women had to possess in order to practice and be perceived as viable working artists. This is achieved by evaluating the usefulness and necessity of key professional mechanisms and spaces to women artists’ professional legitimacy: art schools, artistic societies, studio spaces, art dealerships, commercial galleries and publishing houses. I argue that the widespread association between women and amateurism meant that women artists, regardless of their talent, education or family connections, could not describe themselves as professionals without proving their legitimacy and value via the most objective means possible—the market. The external markers and symbols of professionalism developed by (male) artists throughout the nineteenth century were thus relevant to women to the extent that they supported that end. This is both a social and an economic history of the working conditions of middle-class artists in England, that interrogates how women “became” professionals in the years between 1880 and 1914. 2 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. 3 Publications during candidature “An Art School of Their Own: Women’s Ateliers in England, 1880-1920”, Woman’s Art Journal 34, no.2 (2013): 39-44 Publications included in this thesis No publications included. 4 Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None 5 Acknowledgements This thesis would not have been produced without the help and support of my supervision team, post-graduate colleagues, friends and family. I would firstly like to thank my principal supervisor, Dr Geoff Ginn, who has been a mentor to me since I was an undergraduate student. Geoff’s relentless optimism, insightful academic guidance, and encouragement have been hugely valuable to me over the past three and a half years. I also thank my associate supervisors. Dr Sarah Pinto has provided generous, judicious and warm-hearted academic and professional advice and has made herself constantly available to me despite the geographical distance between us. Associate Professor Morris Low graciously took on my supervision with enthusiasm and conscientiousness, and I am grateful for his careful and exacting feedback on my work. I extend a special thanks to Sandra Hogan for her generosity in proofreading this thesis. I am grateful to the professional and administrative staff at the University of Queensland’s School of Historical and Philosophical Inquiry for their help throughout my candidature. I was fortunate to receive financial support from the School of Historical and Philosophical Inquiry to undertake research in the United Kingdom, and I extend a special thanks to the UQ Graduate School for awarding me the International Travel Award to support further research trips. I am grateful for the assistance of staff at the Victoria and Albert’s National Art Library and Archive of Art and Design, the Tate Archive, the Glasgow School of Art, the Craft Study Centre, Women’s Art Library and University of Brighton. I also thank the staff at the UQ Social Sciences and Humanities Library for their assistance in acquiring and obtaining sources for this thesis. I was lucky to undertake this project alongside many like-minded post-graduate students with whom I enjoyed camaraderie, thoughtful discussion and mutual understanding. I am grateful for sharing this experience with Romain Fathi, Samuel Finch, Samantha Bedgood, Anna Temby and Lachlan Fleetwood. I want to extend a special thanks to Micheline Astley-Boden, who has been a constant source of encouragement and support over the past four years and an invaluable sounding board for ideas. 6 I am immensely grateful to my friends and family for their love and support over the course of this project. Candice Chan and Bridget Mellifont have been steadfast in their friendship and I greatly appreciate their unwavering encouragement and offers of support. Kathleen Brophy, Holly Woodcroft, Alex McLaren, Jason Anderson, Jack Hallahan, Hulton King and Loretta and Sephora Johnston have provided much needed distraction and cheer. This thesis would not have been completed without the moral and financial support of my family. I thank my sisters, Susie Gore and Roslynn Quirk, for their perpetual interest in my well-being and happiness. My parents, Michael and Patricia Quirk, have been unwavering in their support of this project and myself. Their home has been a haven and their love a bulwark against all the challenges this project has presented and for that I am immeasurably grateful. Lastly, my deepest gratitude and appreciation is extended to Daniel Troy, my partner and champion, whose unconditional support, enthusiasm, patience, and relentless belief in my abilities have sustained me throughout the course of my candidature. This thesis is dedicated to my parents. “Never mistake knowledge for wisdom. One helps you make a living, the other helps you make a life.” Sandra Carey. 7 Keywords art history, women’s history, professionalism, art market, nineteenth century, England, studios, book illustration Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 210305, British History, 70% ANZSRC code: 190102, Art History, 30% Fields of Research (FoR) Classification FoR code: 2103, Historical Studies, 80% FoR code:1901, Art Theory and Criticism, 20% 8 TABLE OF CONTENTS LIST OF FIGURES .............................................................................................................................................. 10 INTRODUCTION: WOMEN ARTISTS AND THE LIMITS OF THE PROFESSIONAL IDEAL .. 11 CHAPTER ONE: SUPPLYING THE PLACE OF AN OF INVENTIVE GIFT: THE LIMITATIONS AND RECOMPENSES OF ART EDUCATION FOR WOMEN .............................................................. 36 CHAPTER TWO: STUDIO LIFE FOR THE LADY ARTIST: THE FUNCTION AND MEANING OF STUDIO SPACE FOR WOMEN’S PROFESSIONAL ARTISTIC IDENTITIES. ......................... 72 CHAPTER THREE: MEMBERS OF THE CLUB: WOMEN, PROFESSIONAL ART SOCIETIES AND THE LEGITIMISATION OF ARTISTIC PRACTICE ................................................................... 112 CHAPTER FOUR: “FINDING A MARKET FOR HER WARES”: WOMEN PAINTERS AND THE BUSINESS OF ART ......................................................................................................................................... 149 CHAPTER FIVE: “A GOOD AND STEADY INCOME MAY
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