Framing the Hayllar Sisters A Multi-genre Biography of Four English Victorian Painters Mary Gabrielle Hayllar A thesis in fulfilment of the requirements for the Degree of Doctor of Philosophy University of New South Wales School of Arts and the Media Faculty of Arts and Social Sciences August 2012 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hayllar First name: Mary (K/A Marygai) Other name/s: Gabrielle Abbreviation for degree as given in the University calendar: PhD School: School of Arts & The Media Faculty: Arts & Social Sciences Title: Framing the Hayllar Sisters: A multi-genre biography of four English Victorian painters Abstract 350 words maximum: (PLEASE TYPE) This is a multi-genre biography of the sisters Jessica, Edith, Mary and Kate Hayllar, artists who worked in England from the 1880s until the end of the nineteenth century. It examines relevant historical details and documents based on and around the Hayllar sisters’ lives and examines their paintings closely. It includes fictional vignettes at the conclusion of each chapter based on the information and discussion in that chapter, drawing together facts and issues raised there and focusing on examples of their work. As an imaginative reconstruction of particular incidents and family relationships, the fiction has the potential to enhance an understanding of the circumstances surrounding the sisters’ art production. In the small body of scholarship on the Hayllars, they are recognised as women whose only training was at home with their father, and they are primarily perceived as artists whose representations of women supported the hegemonic belief in domestic femininity. This biography, while accepting that their lives and work embody contemporary attitudes and traditions, suggests that the sisters were in many ways modern women, who painted to earn an income, and whose pictures exploited and occasionally subverted those prevailing beliefs. The dissertation examines the Hayllar sisters in relation to their Victorian and familial context, their education, the influences affecting their work, and their reception by their contemporaries. It also looks critically at the small group of scholars who have more recently discussed examples of the sisters’ work. While their story is unique in its family aspects, it is similar to, and so throws some light on, the lives and limitations of many English women artists of this period. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). T.A.S. Hayllar ………………………………………………… ……………………………………..……………… 5 March 2013 Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed … COPYRIGHT STATEMENT I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed Date 5 March 2013 AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed Abstract This is a multi-genre biography of the sisters Jessica, Edith, Mary and Kate Hayllar, artists who worked in England from the 1880s until the end of the nineteenth century. It examines relevant historical details and documents based on and around the Hayllar sisters’ lives and examines their paintings closely. It includes fictional vignettes at the conclusion of each chapter based on the information and discussion in that chapter, drawing together facts and issues raised there and focusing on examples of their work. As an imaginative reconstruction of particular incidents and family relationships, the fiction has the potential to enhance an understanding of the circumstances surrounding the sisters’ art production. In the small body of scholarship on the Hayllars, they are recognised as women whose only training was at home with their father, and they are primarily perceived as artists whose representations of women supported the hegemonic belief in domestic femininity. This biography, while accepting that their lives and work embody contemporary attitudes and traditions, suggests that the sisters were in many ways modern women, who painted to earn an income, and whose pictures exploited and occasionally subverted those prevailing beliefs. The dissertation examines the Hayllar sisters in relation to their Victorian and familial context, their education, the influences affecting their work, and their reception by their contemporaries. It also looks critically at the small group of scholars who have more recently discussed examples of the sisters’ work. While their story is unique in its family aspects, it is similar to, and so throws some light on, the lives and limitations of many English women artists of this period. Acknowledgments This dissertation would not have been possible without the support of many people. I wish to express my deepest gratitude to my supervisors, Assoc. Prof. Dr. Anne Brewster and Assoc. Prof. Dr Alan Krell, who have given me invaluable assistance, support and guidance over the past eight years. Thanks to Dr. John Golder, Visiting Senior Research Fellow, for his clear, useful instructions on referencing. I am grateful to various institutions in Great Britain: the National Art Library at the Victoria and Albert Museum, for allowing me access to their invaluable collection of nineteenth century art journals; the Royal Academy of Arts whose staff provided me with initial information and has responded generously to my requests for information ever since; the Corporation of London’s Guildhall Art Gallery, for giving me access to the work by Kate Hayllar. There are also people in England who supported me in my research. I am grateful to the descendants of Edith Hayllar who kindly took me into their homes and showed me their photograph albums and collections of Hayllar paintings. Among these, I would like particularly to acknowledge Neil McKay, now sadly deceased, who sent me copies of family documents and wrote me encouraging letters in relation to this project. Also thanks to Christopher Wood who allowed me access to his Hayllar family albums, and to Abigail Large, who gave me a copy of her MA thesis on the Hayllar sisters and photographic slides of their work. Thanks to the residents in Wallingford, in England, who assisted me: Anthony Wilder who wrote his own book about the Hayllars and generously shared all his information with me; Ray Johnson who offered me hospitality as well as all his Hayllar resources; and the owners of Castle Priory, Wallingford, who allowed me to visit the home where the Hayllar sisters did most of their work. Thanks to my friend, Sarah Sharkey, who kindly let me stay at her home on my many research visits to England. My deep gratitude goes to my family for their patient support over a period of eight years. Tom, my husband and Von, my mother, have endured eight years of preoccupation on my part, but have remained supportive. Tom has taken me on walks and holidays to keep me calm and well, and Von has produced baked dinners and casseroles. My daughters and their families have also assisted me greatly: Connie gave encouragement and useful advice, and she and George have dined and entertained us when I have not had time; Elizabeth and Poly kindly checked details of my research when I could not return to England; and Josephine read and commented helpfully on the first drafts of all my chapters.