By Hilary Fraser
This e-book units out to right bought debts of the emergence of artwork heritage as a masculine box. It investigates the significance of girl writers from Anna Jameson, Elizabeth Eastlake and George Eliot to Alice Meynell, Vernon Lee and Michael box in constructing a discourse of paintings remarkable for its complexity and cultural energy, its expanding professionalism and succeed in, and its integration with different discourses of modernity. providing a extra versatile and inclusive version of what constitutes artwork historic writing, together with fiction, poetry and trip literature, this ebook bargains a significantly revisionist account of the family tree of a self-discipline and a career. It exhibits how ladies skilled different types of expert exclusion that, when unsafe to their careers, may be aesthetically formative; how operating from the margins of demonstrated institutional buildings gave girls the liberty to be audaciously experimental of their writing approximately paintings in ways in which resonate with glossy readers.
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Extra resources for Women Writing Art History in the Nineteenth Century: Looking Like a Woman
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N. 10 Professionalism is a category that is neither meaningful outside history nor empty of ideological signification; indeed, it is constitutive of ideology, a critical site for the negotiation and contestation of cultural values and norms. In the nineteenth century, its positive connotations, such as guaranteed adherence to mutually agreed standards of practice, were heavily counterbalanced by its associations with commoditisation, from which the amateur, free of the pressures of commercial production and the need to make a living, was absolved.
Yet such a sanguine view of the opportunities for women to make a career as art historians should be tempered by what we know of the 20 Women Writing Art History in the Nineteenth Century obstacles facing women who wished to pursue a professional writing life of any kind. 12 And of course women’s access to institutions, professions and discourses remained highly regulated and circumscribed throughout the nineteenth century, which made it hard for them to claim the kind of authority that a university education, for example, or membership of a professional association conferred upon men.
Anna Jameson herself is a case in point. 15 The tendency to concentrate principally on the subject that Jameson notes here was only reinforced by the cultural phenomenon of Ruskin, who was about to launch his brilliantly eclectic and highly subjective and literary account of modern painters to the critically one-dimensional British readership she describes, and who was to exercise such peculiar cultural authority in Britain over the middle decades of the century. Ruskin was, unsurprisingly, disparaging about Jameson’s own arthistorical knowledge and practice.