Crafting the Woman Professional in the Long Nineteenth

Over the process the 19th century, girls in Britain participated in various and prolific types of creative labour. As they created items and commodities that blurred the bounds among family and advantageous paintings construction, they crafted subjectivities for themselves as artistic staff. via bringing jointly paintings by means of students of literature, portray, track, craft and the plastic arts, this assortment argues that the developed and contested nature of the feminine creative expert used to be a outstanding element of debates approximately aesthetic price and the influence of commercial applied sciences. the entire essays during this quantity arrange a effective inter-art discussion that complicates traditional binary divisions akin to novice undefined, private and non-private, artistry and so as to supply a extra nuanced knowing of the connection among gender, inventive labour and creativity within the interval. finally, how girls confronted the pragmatics in their personal inventive labour as they pursued vocations, trades and professions within the literary market and comparable art-industries finds different ideological positions surrounding the transition of ladies from industrious amateurism to expert artistry.

This interesting, insightful and considerate assortment complicates the concept that of the pro lady artist, blurring the limits among the so-called household crafts and artwork production'.-- Janice Helland, Professor of paintings heritage, Queen's college, Canada

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Paris: Ladvocat, 1831–34. 133–55. Powell, Kerry. Women and Victorian Theatre. Cambridge: Cambridge University Press, 1997. Prescott, Sarah. Women, Authorship and Literary Culture, 1690–1740. Basingstoke: Palgrave, 2003. K. Women and Philanthropy in Nineteenth-Century England. Oxford: Clarendon, 1980. Purnell, Thomas. ‘Woman, and Art: The Female School of Design’. Art Journal 76 (1861): 107–8. J. Professional Men: The Rise of the Professional Classes in Nineteenth-Century England. London: Weidenfeld & Nicolson, 1966.

Aurora Leigh. Ed. Kerry McSweeney. Oxford: Oxford University Press, 1993. , and Linda H. Peterson, eds. A Struggle for Fame: Victorian Women Artists and Authors. New Haven: Yale Center for British Art, 1994. Cherry, Deborah. Painting Women: Victorian Women Artists. London: Routledge, 1993. Cluckie, Linda. The Rise and Fall of Art Needlework: Its Socio-Economic and Cultural Aspects. Bury St. Edmunds: Arena Books, 2008. Codell, Julie F. The Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870–1910.

Indeed, women’s own bodies began to be in intimate contact with the triumphs of the machine age. James Laver describes the crinoline as ‘the first great triumph of the machine age’ – ‘the application to feminine costume of all those principles of steel construction employed in the Menai Bridge and the Crystal Palace’ (quoted in Briggs 26). In advances in corset design, new dyes, machine-made lace, false hair and all the other innovations of the period, the mid-Victorian beautiful body was itself a triumph of manufacturing.

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