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