Although in Art History one hears a lot about artists from prior centuries, and recently more and more work is being done on women artists in general, there is one specific group of female painters that has been all but forgotten. The rare women artists who were Old Masters, such as Artemisia Gentileschi and Elisabeth Vigee-Le Brun, as well as painters from the Impressionist movement and forward such as Mary Cassatt and Georgia O'Keeffe have been given much acclaim. But what of female painters from the almost forgotten classical tradition of the 19th Century; names such as Elizabeth Jane Gardner Bouguereau, Elizabeth Southerden Thompson, Lady Laura Teresa Alma-Tadema, Evelyn De Morgan, and Eleanor Fortescue Brickdale? One does not often hear about these artists from this only recently reviving period of art, and this article will focus on these women and their accomplishments in paint.
Elizabeth Jane Gardner Bouguereau (1837-1922), whose work, if ever mentioned, is often accused of too closely resembling that of her husband, the famous William Bouguereau. This was a criticism that originated during her lifetime. She became quite well known during her day and her response to this accusation was “I know I am criticized for not more boldly asserting my individuality, but I would rather be known as the best imitator of Bouguereau than nobody!” Clearly Gardner felt that having to suffer the criticism that her work was too similar to that of the most famous and beloved artist of the time was preferable to not being discussed at all. Although her painting technique does closely resemble the skilled hand of her husband, she does in fact have a body of stunning works, many of which express her unique voice and give her work a degree of separation.
Elizabeth Jane Gardner Bouguereau (1837-1922), whose work, if ever mentioned, is often accused of too closely resembling that of her husband, the famous William Bouguereau. This was a criticism that originated during her lifetime. She became quite well known during her day and her response to this accusation was “I know I am criticized for not more boldly asserting my individuality, but I would rather be known as the best imitator of Bouguereau than nobody!” Clearly Gardner felt that having to suffer the criticism that her work was too similar to that of the most famous and beloved artist of the time was preferable to not being discussed at all. Although her painting technique does closely resemble the skilled hand of her husband, she does in fact have a body of stunning works, many of which express her unique voice and give her work a degree of separation.
Although currently, her name is not widely known among the general public, her paintings have become re-appreciated among 19th century collectors. One such work is The Farmer’s Daughter, which sold April 23, 2010 at Sotheby’s New York for the hefty sum of $494,500, which was significantly above the $200,000 to $300,000 estimate. However, compared to Pablo Picasso, who had a painting sell for $106,482,500 in May of the same year, her prices at auction still have room to grow. The Farmer’s Daughter, first exhibited at the Paris Salon of 1887 and then again at the Exposition Universelle in 1889, is about the joy of life and taking pleasure in simple things. A young beauty stands among a group of barnyard chickens on a perfect, sunny, day. She looks down at her feathered friends with a mischievous glance as she teasingly lets the golden grains fall from her fingers a few at a time. The birds gather round looking up at their loving care keeper and playfully at the viewer, eagerly anticipating the arrival of their feast. This painting reminds all onlookers to take pleasure in the simple gifts presented, to keep life in perspective, and to enjoy one’s day to day existence.
In addition to demonstrating impeccable drawing skill and a fundamental grasp of powerful subject matter, Gardner demonstrates that she is an incredible colorist. She uses bold, stunning colors that grab the viewer’s eye without overwhelming the message of the painting and instead embraces it. The use of two unique shades of intense blue contrasted against a rich crimson red and the girls porcelain skin, make one appreciate the color both jointly and separately from the composition. One can stand in front of this work and be awe stuck by the power of the colors used and yet when taken in context of the entire painting, it becomes clear that this is a masterpiece in its own right and that Gardner deservers full credit for her accomplishments with the brush.
Elizabeth Southerden Thompson (1846 -1933) was one of the most famous female painters of the day, whose name was known throughout the whole of England and its colonies. She showed a strong aptitude at a young age for painting horses and soldiers, and was one of the first female artists to achieve fame in painting military and historical subject matter. She traveled abroad and studied with Giuseppe Bellucce in Florence and Rome, before finally taking some instruction at the South Kensington School of Art, London. Her reputation was sealed when her painting of Roll Call was exhibited at the Royal Academy in 1874, which was subsequently bought by Queen Victoria and still remains in the Royal Collection.
Continued of the next page: Elizabeth Southerden Thompson’s Roll Call
Elizabeth Southerden Thompson (1846 -1933) was one of the most famous female painters of the day, whose name was known throughout the whole of England and its colonies. She showed a strong aptitude at a young age for painting horses and soldiers, and was one of the first female artists to achieve fame in painting military and historical subject matter. She traveled abroad and studied with Giuseppe Bellucce in Florence and Rome, before finally taking some instruction at the South Kensington School of Art, London. Her reputation was sealed when her painting of Roll Call was exhibited at the Royal Academy in 1874, which was subsequently bought by Queen Victoria and still remains in the Royal Collection.
Continued of the next page: Elizabeth Southerden Thompson’s Roll Call
Roll Call depicts the remnants of a Battalion of Grenadier Guards who remained standing in the aftermath of what is believed to be the Battle of Inkerman in 1854. This battle took place during the Crimean War which was a long lasting conflict between the Russian, French and British Empires, as well as the Kingdom of Sardinia who were all vying for control over the territories of the waning Ottoman Empire. Thompson’s painting illustrates the cruel realities of war while still capturing the viewer with its beauty of composition, paint handling, and its success in portraying the individual personalities of the troops. The commander sits uninjured on his horse and looks down examining the remaining men after ordering them to line up for roll call. The second in command takes notes while the tired and injured soldiers try to keep on their feet. One of the men, with a pale pallor, has fallen and his comrade is checking to see if he is still alive. In 1874 when this painting was created, there was an increasing awareness of social injustice and the need for many political reforms. The artists and writers of the day played a major role in spreading this awareness that eventually lead to the bettering of working conditions both for the general population and the military. Thompson commented in her autobiography when writing of 1922 that “…I never painted for the glory of war, but to portray its pathos and heroism…”
Thompson married a Lieutenant General, Sir William Butler, in 1877 and in 1879 started signing her name as Lady Butler. Her work received much praise from several important artists of the day including Édouard Detaille an important student of Jean-Louis-Ernest Meissonier and John Ruskin, the famous art critic, who noted on her painting at the Royal Academy exhibition of 1876 that he “had seen nothing like it since the death of Turner as color intensity and truth of gradation.”[2] Thomson is one of many artists brushed aside with the insurgence of the modernist sensibilities, but whose accomplishments both as a woman and an artist should not be forgotten.
Thompson married a Lieutenant General, Sir William Butler, in 1877 and in 1879 started signing her name as Lady Butler. Her work received much praise from several important artists of the day including Édouard Detaille an important student of Jean-Louis-Ernest Meissonier and John Ruskin, the famous art critic, who noted on her painting at the Royal Academy exhibition of 1876 that he “had seen nothing like it since the death of Turner as color intensity and truth of gradation.”[2] Thomson is one of many artists brushed aside with the insurgence of the modernist sensibilities, but whose accomplishments both as a woman and an artist should not be forgotten.
Lady Laura Teresa Alma-Tadema (1852 – 1909) started drawing at a young age. She took some drawing instruction with Ford Madox Brown before starting study with Sir Lawrence Alma-Tadema, who fell immediately in love with her beautiful hair and genteel demeanor. Sir Lawrence had been previously widowed with two young daughters and in 1871, at age 18, Laura was married to the prominent classical artist. Laura became stepmother to the two girls, Anna and Miss Laurense, though she never had children of her own. The Alma-Tadema home was a center of social activity with Lady Laura as the gracious hostess who enjoyed and was very good at it. Unlike her husband, Lady Laura did not ambitiously push her own artwork, though her husband did promote it for her and she became known throughout the British art community. Although her work closely resembled the techniques of her teacher and husband, one technical difference was that Lady Laura did not use varnish in the final layers of her paintings, which was what gave Sir Lawrence’s work his much sought after finish.
Lady Alma-Tadema was very much influenced by the 17th century Dutch interior painters such as Jan Van Mieris and Gabriel Metsu. Most of her paintings were staged and painted in her studio which was decorated with authentic antique Dutch furniture and wall paneling, something that pleased her husband because of his Dutch heritage. One such painting is The Persistent Reader. This master work depicts a well dressed couple indoors on a beautiful day. The woman, who has gotten herself done up and is ready, hat in hand, for a romantic walk, is staring impatiently at her companion. One can tell by looking at this scene that the maiden has been waiting for some time and is becoming increasingly impatient. Her mate continues to read with no immediate intent to stop for a walk, or even a glance, to notice the effort that has been made to attract him. The use of lighting is very Vermeeresque, which is not surprising considering her love of the period. The use of silk for the dress is seen in approximately one third of her paintings. This repeated use of silk qualifies her as a “silk painter”, not unlike her contemporary, the Belgian painter Florent Willems or the 17th century painter Gerard ter Borch.
When Lady Laura Died in 1909, Alma-Tadema helped orchestrate a memorial exhibition of her work at the Fine Arts Society, London. The attendants were “astonished by the amount of high quality works”[3], though her total oeuvre of around 110 paintings was relatively small compared to that of Sir Lawrence who painted over 400. Many, including those who knew her, did not realize how good of an artist she had become, being always dwarfed by her world renowned husband. However, it is unlikely she ever would have reached such high levels of achievement without Sir Lawrence continually spurring her forward on her artistic journey.
Continued of the next page: Evelyn de Morgan’s The Love Potion
Lady Alma-Tadema was very much influenced by the 17th century Dutch interior painters such as Jan Van Mieris and Gabriel Metsu. Most of her paintings were staged and painted in her studio which was decorated with authentic antique Dutch furniture and wall paneling, something that pleased her husband because of his Dutch heritage. One such painting is The Persistent Reader. This master work depicts a well dressed couple indoors on a beautiful day. The woman, who has gotten herself done up and is ready, hat in hand, for a romantic walk, is staring impatiently at her companion. One can tell by looking at this scene that the maiden has been waiting for some time and is becoming increasingly impatient. Her mate continues to read with no immediate intent to stop for a walk, or even a glance, to notice the effort that has been made to attract him. The use of lighting is very Vermeeresque, which is not surprising considering her love of the period. The use of silk for the dress is seen in approximately one third of her paintings. This repeated use of silk qualifies her as a “silk painter”, not unlike her contemporary, the Belgian painter Florent Willems or the 17th century painter Gerard ter Borch.
When Lady Laura Died in 1909, Alma-Tadema helped orchestrate a memorial exhibition of her work at the Fine Arts Society, London. The attendants were “astonished by the amount of high quality works”[3], though her total oeuvre of around 110 paintings was relatively small compared to that of Sir Lawrence who painted over 400. Many, including those who knew her, did not realize how good of an artist she had become, being always dwarfed by her world renowned husband. However, it is unlikely she ever would have reached such high levels of achievement without Sir Lawrence continually spurring her forward on her artistic journey.
Continued of the next page: Evelyn de Morgan’s The Love Potion
Evelyn de Morgan (1855-1919) was an important second generation Pre-Raphaelite and the niece of Spencer Stanhope. She is one of the few female followers of Dante Gabrielle Rossetti and Edward Coley Burne-Jones, her work having closer ties to that of the latter. However, Morgan’s subject matter was very uniquely illustrated and filled with symbolism in a way that one cannot help but feel is being depicted from the female perspective. Take for example her painting of The Love Potion. Unlike most of the famous male artists of the day, who’s women even in the worst of times always appear “picture perfect”, Morgan shows us the inner turmoil on the face of what the viewer can tell should be a lovely woman. However, the subject appears haggard by her jealousy and mal intent as she mixes her potion to seduce the man outside. The man is visible in the background, directly over the cup. He embraces his love unaware of the fate that is soon to befall him. This is a very feminine depiction of this scene. The viewer senses that the artist can relate to the feelings experienced by the subject and although the belle sans dame merci is too embroiled in her act to notice, her black cat glares out at all those who are watching. Symbolically, the black cat is a witch’s pet, and in this case it carries a double meaning. She is a witch in her heart as well as in the act of mixing potions.
De Morgan started study at the Slade School of Fine Art in 1873, only 2 years after the school opened, before traveling abroad to Italy in 1875 for 2 years. She was married in 1887 to William de Morgan, the famous potter and designer, who shared in her love of art as well as her political and spiritual beliefs. A close friend of the de Morgan family was quoted as saying “It is indeed unusual to find two people so gifted, so entirely in harmony in their art, who acted and reacted on each other’s genius. Their romance is one before which the pen falters”.[4] This was also the year of the artist’s debut at the London Exhibition. Evelyn believed very strongly in women’s rights and her husband supported her in her endeavors to help bring about equality between the sexes. Evelyn was active in the Suffragette movement, and was a signatory for the Declaration in Favor of Women’s Suffrage in 1889. Her work was exhibited mostly at the Grosvenor Gallery and at the New Gallery during her lifetime, though she sold very few canvases and much of her work remained with her estate after her death in 1919. Evelyn’s sister, Mrs. Wilhelmina Stirling, loved her sister and husband’s oeuvre, and published the biographies of both artists. When she died in 1965, she left the collection in trust. The De Morgan Foundation Charity was formally created in 1967, and most of her output still remains with them today.
Because so much of her total body of work remains in trust, her pieces, especially those of substance, are rare to the auction market. However, those who appreciate and love the Pre-Raphaelite painters of the 19th century admire her work. Her most substantial painting to come to market in the past 20 years was her work titled Crown of Glory. The piece sold at Sotheby’s London, Tuesday, November 21, 1989, soaring over the £40,000 to £60,000 estimate and selling for £143,000, ($224,067). It set the record and still remains the highest price paid for one of her paintings at auction.
De Morgan started study at the Slade School of Fine Art in 1873, only 2 years after the school opened, before traveling abroad to Italy in 1875 for 2 years. She was married in 1887 to William de Morgan, the famous potter and designer, who shared in her love of art as well as her political and spiritual beliefs. A close friend of the de Morgan family was quoted as saying “It is indeed unusual to find two people so gifted, so entirely in harmony in their art, who acted and reacted on each other’s genius. Their romance is one before which the pen falters”.[4] This was also the year of the artist’s debut at the London Exhibition. Evelyn believed very strongly in women’s rights and her husband supported her in her endeavors to help bring about equality between the sexes. Evelyn was active in the Suffragette movement, and was a signatory for the Declaration in Favor of Women’s Suffrage in 1889. Her work was exhibited mostly at the Grosvenor Gallery and at the New Gallery during her lifetime, though she sold very few canvases and much of her work remained with her estate after her death in 1919. Evelyn’s sister, Mrs. Wilhelmina Stirling, loved her sister and husband’s oeuvre, and published the biographies of both artists. When she died in 1965, she left the collection in trust. The De Morgan Foundation Charity was formally created in 1967, and most of her output still remains with them today.
Because so much of her total body of work remains in trust, her pieces, especially those of substance, are rare to the auction market. However, those who appreciate and love the Pre-Raphaelite painters of the 19th century admire her work. Her most substantial painting to come to market in the past 20 years was her work titled Crown of Glory. The piece sold at Sotheby’s London, Tuesday, November 21, 1989, soaring over the £40,000 to £60,000 estimate and selling for £143,000, ($224,067). It set the record and still remains the highest price paid for one of her paintings at auction.
Eleanor Fortescue Brickdale (1871-1945) was a well respected illustrator and painter of her day. In 1896, she created a lunette titled Spring, which was used in the Royal Academy Dining Room. In 1902, she had the honor of becoming the first female member of the Institute of Painters in Oils.[5] She illustrated many books such as Poems by Tennyson, 1905, W.M. Canton, Story of St. Elizabeth of Hungry, 1912, and Calthorp, A Diary of an 18th Century Garden, 1926, to name a few. In 1919, Eleanor Fortescue Brickdale’s Golden Book of Famous Women was published by Hodder & Stoughton, which was a compilation of stories about some of the most famous women in history and legend as written by some of the most famous authors in history such as William Shakespeare, Lord Tennyson, Charles Dickens, Edgar Allan Poe, and John Keats among others. Although this book contains no introduction to explain whose inspiration it was to put the book together or who chose the content, it seems clear from the title that Brickdale must have been the mastermind behind it.
Her works are always styled in the manner of the Pre-Raphaelites such as Dante Gabriel Rossetti or William Holman Hunt, using vibrant jewel like colors and representative 19th century subject matter. Take for example her allegorical painting titled, The Deceitfulness of Riches, which after being first exhibited at the Royal Academy in 1901, was subsequently included in an exhibition titled Such Stuff as Dreams are made of, in 1902, a reference to William Shakespeare’s The Tempest. Many classical artists from the 19th century would put to vision what famous writers and poets put to pen. There was a great love of storytelling and without television or other modern day technologies; drawing, painting, and theater, were the only ways to express subject matter in a visual context. The symbolism in this painting was highly debated when it was first put on view, and today, its deeper meaning is still up to interpretation. A princess sits in a stately garden, coddling a sleeping kitten. Her jealous attendant’s close in about her, isolating her from the outside world . The child in the upper left of the painting appears to speak, though her voice cannot be heard over the musician which sits between her and the princess. A second attendant motions for silence towards an approaching woman who appears to sneak a view. A Holy figure is depicted in a decorative tablet, slightly above and behind the princess, their backs to each other. Like the kitten, The princess remains ignorant, pampered and isolated from the world around her, providing a false sense of contentment and security. The expression of the princess has a sad undertone, and it is possible that the only intentions she can trust is that of the kitten’s which she holds to her chest.
Tragically Brickdale’s career was cut short when she suffered a stroke in 1938 and could not paint for the remaining 7 years of her life. Today, her paintings are in the collections of several museums including the Walker Art Gallery in Liverpool, the Birmingham Museum and Art Gallery, Leeds City Museums and Art Galleries, and the Ashmolean Museum at Oxford University. Her work demonstrates great skill and it is clear that she is one of the reasons the turn of the 19th to 20th century has become known as the Golden Age of Illustration.
The women artists discussed in this article are only a few of those forgotten in the flow of time. There are many female artists, especially from the 19th century, whose work lies relatively undiscovered by the general public. Others, such as Elizabeth Adela Armstrong Forbes, Henrietta Rae, Lucy Kemp-Welch, Sophie Anderson, Marie Spartali Stillman, and Kate Perugini, who was the daughter of Charles Dickens, have been given little attention or acclaim. More research must be done these women and even those who have already had their work written about by scholars, still need more emphasis to bring their work from the knowledge of a rare individual back to the awareness of societal recognition.
Kara Lysandra Ross is the Director of Operations for the Art Renewal Center.
Her works are always styled in the manner of the Pre-Raphaelites such as Dante Gabriel Rossetti or William Holman Hunt, using vibrant jewel like colors and representative 19th century subject matter. Take for example her allegorical painting titled, The Deceitfulness of Riches, which after being first exhibited at the Royal Academy in 1901, was subsequently included in an exhibition titled Such Stuff as Dreams are made of, in 1902, a reference to William Shakespeare’s The Tempest. Many classical artists from the 19th century would put to vision what famous writers and poets put to pen. There was a great love of storytelling and without television or other modern day technologies; drawing, painting, and theater, were the only ways to express subject matter in a visual context. The symbolism in this painting was highly debated when it was first put on view, and today, its deeper meaning is still up to interpretation. A princess sits in a stately garden, coddling a sleeping kitten. Her jealous attendant’s close in about her, isolating her from the outside world . The child in the upper left of the painting appears to speak, though her voice cannot be heard over the musician which sits between her and the princess. A second attendant motions for silence towards an approaching woman who appears to sneak a view. A Holy figure is depicted in a decorative tablet, slightly above and behind the princess, their backs to each other. Like the kitten, The princess remains ignorant, pampered and isolated from the world around her, providing a false sense of contentment and security. The expression of the princess has a sad undertone, and it is possible that the only intentions she can trust is that of the kitten’s which she holds to her chest.
Tragically Brickdale’s career was cut short when she suffered a stroke in 1938 and could not paint for the remaining 7 years of her life. Today, her paintings are in the collections of several museums including the Walker Art Gallery in Liverpool, the Birmingham Museum and Art Gallery, Leeds City Museums and Art Galleries, and the Ashmolean Museum at Oxford University. Her work demonstrates great skill and it is clear that she is one of the reasons the turn of the 19th to 20th century has become known as the Golden Age of Illustration.
The women artists discussed in this article are only a few of those forgotten in the flow of time. There are many female artists, especially from the 19th century, whose work lies relatively undiscovered by the general public. Others, such as Elizabeth Adela Armstrong Forbes, Henrietta Rae, Lucy Kemp-Welch, Sophie Anderson, Marie Spartali Stillman, and Kate Perugini, who was the daughter of Charles Dickens, have been given little attention or acclaim. More research must be done these women and even those who have already had their work written about by scholars, still need more emphasis to bring their work from the knowledge of a rare individual back to the awareness of societal recognition.
Kara Lysandra Ross is the Director of Operations for the Art Renewal Center.
Footnotes:
[1] McCabe, Lida Rose. Madame Bouguereau at Work, Il 694.
[2] E. Benezit, Grund, Vol 13, 1999, Paris, France.
[3] Interview with Dr. Vern G. Swanson, August 27, 2011. Dr. Swanson has provided the information for the Lady Laura Alma-Tadema section of this article. He is the author of the Catalogue Raisonné on Sir Lawrence Alma-Tadema and is currently researching and writing the Biography and Catalogue Raisoneé of Lady Lara Teresa Alma-Tadema.
[4] The De Morgan Foundation, William and Evelyn de Morgan, 2010.
[5] Birmingham Museum and Art Gallery, Pre-Raphaelite online resource, artist biography section, Eleanor Fortescue Brickdale.
