Women, Art and Money in Late Victorian and Edwardian England: The Hustle and the Scramble (Contextualizing Art Markets)

__Women, Art and Money in England__ establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability – prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, __Women, Art and Money__ is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines. Title Page Copyright Page Contents List of Abbreviations Acknowledgements Series Editor’s Introduction Introduction: Money, Professionalism and Reputation England’s art world in the late nineteenth century The state of the field Methodology and sources Notes Part 1: From Student to Studio Chapter 1: Training for the Market Education and the professional ideal Market-specific training A school fit for women Conclusion Notes Chapter 2: Commerce and Family in the Home Studio Married life in the studio The family studio as community hub Conclusion Notes Chapter 3: Single Ladies and Studio Celebrities Performing studio life Studios and the single girl Conclusion Notes Part 2: Commerce, Enterprise, Display Chapter 4: Academy Politics Reforming art’s aristocracy? The politics of membership Conclusion Notes Chapter 5: Members of the Club The exhibition marketplace Exhibition gatekeepers No men allowed Conclusion Notes Chapter 6: Making a Living through Middle-Class Demand The business of art in late nineteenth-century London Commercial galleries The role of art dealers Conclusion Notes Chapter 7: Portraiture and Patronage The business of portraiture Attracting patronage Conclusion Notes Chapter 8: Illustrating Success Press and book illustration Cards, valentines and printed ephemera Conclusion Notes Conclusion Notes Appendix 1: Artist Biographies Elizabeth Butler (nee Thompson) 1846–1933 Evelyn De Morgan (nee Pickering) 1855–1919 Gertrude Demain Hammond 1862–1952 and Christiana Demain Hammond 1860–1900 Elizabeth Forbes (nee Armstrong) 1859–1912 Maude Goodman 1853–1938 Kate Greenaway 1846–1901 Gwen John 1876–1939 Louise Jopling (nee Goode) 1843–1933 Lucy Kemp-Welch 1869–1958 Laura Knight (nee Johnson) 1877–1970 Gertrude Massey (nee Seth) 1868–1957 Henrietta Rae 1859–1928 Ethel Wright 1866–1939 Appendix 2: A Selection of Price Comparisons between Male and Female Artists of the late Victorian and Edwardian Period Landscape, garden and animal pictures Subject and genre pictures Classical subject and late pre-Raphaelite pictures Purchased by the Chantrey Bequest Yearly incomes Notes Select Bibliography Online resources Select primary sources Select newspapers and journals Archives Index "Women, Art and Money in England establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability - prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines."--Bloomsbury Publishing.

Women, Art and Money in England establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability – prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines.

In this book, the author establishes the importance of women artists' commercial dealings to their professional identities and reputations int he late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesizes data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. From shining a light on the difficult-to-trace commercial strategies of little-research artists to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, this book is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines