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Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage.
Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.
Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage.
Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.
Acknowledgments
Preface
Introduction
One. Women Artists' Networks at the South Kensington, Royal Academy and Slade Schools, 1860-1910
Two. "The golden spectacles": Reading Kate Greenaway through Her Mentors
Three. "On the line" at the Royal Academy: Elizabeth Butler and Motion
Four. The Iconography of "Happy England": Helen Allingham's Genre Paintings
Five. Galatea Reversed: Princess Louise and Nineteenth-Century Women Sculptors.
Six. "The spirit which animated the workers": Evelyn De Morgan's Aesthetic Mannerism
Seven. "[Un]winding the Skein": Henrietta Rae and the Undraped Nude
Appendix: Artists and Schools
Chapter Notes
Bibliography
Index
| Empfohlen (von): | 18 |
|---|---|
| Erscheinungsjahr: | 2016 |
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Medium: | Taschenbuch |
| Inhalt: | Kartoniert / Broschiert |
| ISBN-13: | 9780786494095 |
| ISBN-10: | 0786494093 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Devereux, Jo |
| Hersteller: | McFarland |
| Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 229 x 152 x 16 mm |
| Von/Mit: | Jo Devereux |
| Erscheinungsdatum: | 27.07.2016 |
| Gewicht: | 0,434 kg |
Acknowledgments
Preface
Introduction
One. Women Artists' Networks at the South Kensington, Royal Academy and Slade Schools, 1860-1910
Two. "The golden spectacles": Reading Kate Greenaway through Her Mentors
Three. "On the line" at the Royal Academy: Elizabeth Butler and Motion
Four. The Iconography of "Happy England": Helen Allingham's Genre Paintings
Five. Galatea Reversed: Princess Louise and Nineteenth-Century Women Sculptors.
Six. "The spirit which animated the workers": Evelyn De Morgan's Aesthetic Mannerism
Seven. "[Un]winding the Skein": Henrietta Rae and the Undraped Nude
Appendix: Artists and Schools
Chapter Notes
Bibliography
Index
| Empfohlen (von): | 18 |
|---|---|
| Erscheinungsjahr: | 2016 |
| Genre: | Importe, Kunst |
| Rubrik: | Kunst & Musik |
| Medium: | Taschenbuch |
| Inhalt: | Kartoniert / Broschiert |
| ISBN-13: | 9780786494095 |
| ISBN-10: | 0786494093 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Devereux, Jo |
| Hersteller: | McFarland |
| Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 229 x 152 x 16 mm |
| Von/Mit: | Jo Devereux |
| Erscheinungsdatum: | 27.07.2016 |
| Gewicht: | 0,434 kg |
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