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NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI National Library Bibliothèque nationale I*m of Canada du Canada Acquisitions and Acquisitions et Bibliog raphic Services setvices bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 OnacnieôN KlAW Canada Canada The author has granted a non- L'auteur a accordé une Licence non exclusive licence ailowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or elecîronic formats. la forme de rnicrofiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otheMise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ..- Ill TABLE OF CONTENTS Title Page i Abstract ii Table of Contents iii List of Figures v Acknowledgements viii introduction 1 Chapter 1: A Brief Histo y of Ferninist Art Histoy 4 Criticism of Traditional Art History Writing About Women Arûsts Art Versus Crafi Feminist Scholarship Today Chapter 2: Literature Review Biographical Texts Based on Delany's Letters Delany's Inclusion in Botanical Studies Delany's Inclusion in Feminist Scholarsbip Ruth Hayden, the Contemporary Expert on Delany My Own Theoreticai Framework Chapter 3: Summary Biogrnphy of Ma y Delany Chapter 4: Mary Delany's Punuit of Scientific Knowledge Chapter 5: Mary Delany's Artistic Production Delany's Attitude Toward ANstic Activity Needlework Shelis Drawing Painting Paper Cutting Paper Collage: Flora Delanica Chapter 6: Mary Delany's Artistic Status and Community Amateur Artists A Community of Women Artists Mary Delany's Artistic Reptation Mary Delany's Self Image as an Artist Chapter 7: Mary Delany's Ariistic Distribution, Criticism, and Collection 117 Gifts of Art Anistic Connoisseurship and Cnticism Conclusion 126 Figures 129 Bibliography 169 Appendices Timeline of Important Events in Mary Delany's Life List of Paintings by Delany List of Paintings Collected by Delany Vita Partial Copyright License LIST OF FIGURES Figure 1: Barber, Mary Delany Reproduced by permission of Ruth Hayden. Figure 2: Jan Sieberechts, Longleat fronr the South, 1695 Reproduced by permission of the Courtauld Institute of An. Figure 3 : Mary Delany, Anne Grarzville Reproduced by permission of Ruth Hayden. F ig u re 4 : Zinc ke, Margaret Ca vendisli Hadey, Duchers oJPorîfand Reproduced by permission of Ruth Hayden. Figure 5: Unknowen Artist, Dr. Patrick Delany, Dean of Down Reproduced by permission of Ruth Hayden. Figure 6: G. D. Ehret, Bull Bay (Magnolia grandijora L.), 1743 Reproduced by permission of Victoria and Albert Museum. Figure 7: Mary Delany, Rosa galiiea (CIuster Dam-, 1780 O Copyright The British Museum. Figure 8: Unknowen Artist, EngirSh Courtdress, 1745-1750 Reproduced by permission of Victoria and Albert Museum. Figure 9: Mary Delan y, Overskirt of DeIany 's Courtdress, c. 1730 Reproduced by permission of Ruth Hayden. Figure 10: Mary Delany, Design for Court Dress, c. 1750 Reproduced by permission of Ruth Hayden. Figure 11: Mary Delany and Anne Granville Dewes, Shell-work on Mantelpiece Reproduced by permission of Ruth Hayden. Figure 12: Mary Delany, Sltellwork on Cornicefrom Ilte Chupel at Delville Reproduced by permission of Ruth Hayden. Figure 13: Mary Delany, Sketch of Dr. Delany Reproduced by permission of Ruth Hayden. Figure 14: Mary Delany, The Rocky Hills and Mountains leading tu the Giant's Causway in t/r e County of Antrim, Ireland Reproduced by permission of the National Gallery of Ireland. Figu re 15: Mary Delany, A vietu of ye Beggars Hut in Delville Garden Reproduced by permission of the National Gallery of Ireland. Figure 16: Mary Delany, The Cottage Reproduced by permission of Ruth Hayden. Figure 17: Mary Delany, Painting dune after Correggio, 1760 Reproduced by permission of Ruth Hayden. Figure 18: Mary Delany, Catherine Hyde, the Duchess of Qrreensbury Reproduced by permission of Ruth Hayden. Figure 19: Mary Delany, Women Reading arrd Twkting Tltread Reproduced by permission of the Marquess of Bath, Longleat House, Warrninster, Wiltshire, Great Britain. Figure 20: Mary Delany, Clrildren of Vucorrnt Weymoutlr, late 1760s Reproduced by permission of the Marquess of Bath, LongIeat House, Warminster, Wiltshire, Great Britain. Figure 21: Mary Delany, Gnrne of Clress Reproduced by permission of the Marquess of Bath, Longleat House, Warminster, Wiltshire, Great Britain. Figure 22: Mary Delany, Broad Crested Cockatoo, native of New Hoilartd Reproduced by permission of Ruth Hayden. Figure 23: Mary Delany, Lilium carradense, 1779 O Copyright The British Museum. Figure 24: Mary Delany, Scarlet Ceranirrrn, 1772 O Copyright The British Museum. Figure 25: Mary Delany, Arum esculerrtum (Eatable Wake Robin), 1780 O Copyright The British Museum. Figure 26: Mary Delany, Ornithogalum arabicum (Arabian star of Bethlehem), 1779 O Copyright The British Museum. Figu rc 27: Mary Delany, Passeflora larrrifolia (Bay leaved), 1777 O Copyright The British Museum. Figure 28: Mary Delany, Bomba ceiba Linn spec. 959, 1780 vii O Copyright The British Museum. Figure 29: Mary Delany, Mimosa latisiliqua (Wltifeflowerirrgaccasia), 1776 O Copyright The British Museum. Figure 30: Mary Delany, Solanum melongena (Egg plant), 1777 O Copyright The British Museum. Figure 3 1 : Mary Delany, Fragaria vexa (Wood sfrawberry), 1777 O Copyright The British Museum. Figure 32: Mary Delany, Tamus commrmk @lac&briony), 1776 O Copyright The British Museum. Figure 33: iMary Delany, Plrysafis (WinferCherry) O Copyright The British Museum. Figure 34: Mary Delany, Cactus grandifIorus (Melorr Tlride), 1778 O Copyright The British Museum. Figure 35: Mary Delany, Mespifuspiracanfha (Fierpthornedpiracartfha),1780 O Copyright The British Museum. Figure 36: ~MaryDelany, Fumaria fungosa (Climingfrrmitory), 1776 O Copyright The British Museum. Figure 37: Mary Delany, Magriolia grandmra (The grand magnolia), 1776 O Copyright The British Museum. Figure 38: Mary Delany, Aescalus Hippocastanum (Horse Clrestnut), 1776 O Copyright The British Museum. Figure 39: Lady Catherine Hanmer, Mrs. Defany at /ter Easel Reproduced by permission of Ruth Hayden. Figure 40: Mary Delany, Fort St Davids Bull Eieproduced by permission of Ruth Hayden. viii ACKNOWLEDGEMENTS My first acknowledgement goes out to the remarkably intelligent group of women with whom 1 started this journey. Thank you Dennine Dudley, Richelle Funk, Dr. Catherine Harding, Justyna Krol, Caitlin Lewis, Dr. Kathlyn Liscomb, Rebecca Michaels, Mary Pomeroy, Dr. Christine St. Peter, Lucia Sanroman, Csenge Szabo, Dr. Elizabeth Tumasonis, and Dr. Astri Wright. A special thanks goes out to Adrienne Truchi for being a true kindred spirit, both academically and personally. 1 would like to thank Dr. Lianne McLarty and Dr. John Money for their insightful editing and advise. 1 am extremely grateful for the thoughtful guidance of Dr. Carol Gibson- Wood. Carol, you are a wonderfut teacher and &end. Thank you. Thanks to my friends and family, whose genuine interest and enthusiasm in my work has been greatIy valued. Mom and Dad, thank you for al1 of your encouragement and for teaching me to respect and enjoy art. Lastly, 1 would like to express my deeply felt appreciation for Todd Barsby's endless supply of support, humour, kindness, and love. 1 thank you with al1 my heart. INTRODUCTION There are numerous exarnples of invention and ingenuity evident in the art practices of women who lived in Bntain during the eighteenth century. Alternative media (such as ornamental shell-work, wax modelling, and paper collage), along with amateur status, and 'appropriate' subject matter (portraiture, flowers, and copies), created a 'safe-zone' in which women had cultural agency and authority.' Several women werr so successfül at negotiatinç and manipulating culturally imposed gender roles, that they received praise from prominent artists and gentlepeople. These tvomen did not atternpt to break into patriarchal modeIs of artistic practice; rather they negotiated specifically different avenues in which to express themselves artistically. While this phenornenon attests to the gender inequalities in the eighteenth- century English professional art community, 1 contend that these examples of fernale ingenuity may be read in a positive Iight. The pressure imposed on women to act outside of the professional art world gave them the freedorn to develop art techniques without having to abide by the rigid standards, des,and criteria applied to conventional art forms. An outstanding exampie of such a woman is Mary Granville Pendarves Delany (1 700- 1788) (Figure 1). ' At the sarne time that Delany maintained an important membership in eighteenth-century British upper-class society, she was able to draw, paint in oils and 'The term "cultural agency and authority" comes from a lecture given by Ann Berrningham at the University of British Columbia on 21 January 1999 titled "Women Amateurs and the Language of Flowen". Bermingham used this terminology to express
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