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    Women Painters of the World
    Women Painters of the World
    Women Painters of the World
    Ebook405 pages1 hour

    Women Painters of the World

    By Walter Shaw Sparrow

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    With hundreds of illustrations.First published in 1905.According to the Preface: "What is genius? Is it not both masculine and feminine? Are not some of its qualities instinct with manhood, while others delight us with the most winning graces of a perfect womanhood? Does not genius make its appeal as a single creative agent with a two-fold sex? But if genius has its Mirandas and its Regans no less than its infinite types of men, ranging from Prospero and Ferdinand to Caliban and Trinculo, its union of the sexes does not remain always at peace within the sphere of art. Sometimes, in the genius of men, the female characteristics gain mastery over the male qualities; at other times the male attributes of woman's genius win empire and precedence over the female; and whenever these things happen, the works produced in art soon recede from the world's sympathies, losing all their first freshness."

    LanguageEnglish
    PublisherSeltzer Books
    Release dateMar 1, 2018
    ISBN9781455445936
    Women Painters of the World
    Author

    Walter Shaw Sparrow

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      Book preview

      Women Painters of the World - Walter Shaw Sparrow

      JOY AND THE LABOURER.

      REPRODUCED FROM THE ORIGINAL PICTURE IN THE COLLECTION OF W. A. CADBURY, ESQ.

      Mrs. Mary Young Hunter, Painter

      WOMEN PAINTERS OF THE WORLD - FROM THE TIME OF CATERINA VIGRI (1413-1463) TO ROSA BONHEUR AND THE PRESENT DAY. EDITED BY WALTER SHAW SPARROW.

      Published by Seltzer Books

      established in 1974, now offering over 14,000 books

      feedback welcome: seltzer@seltzerbooks.com

      Books about Women available from Seltzer Books:

      History of Woman Suffrage edited by Stanton, Anthony, and Gage

      Woman in the 19th Century by Fuller

      A Vindication of the Rights of Women by Wollstonecraft

      Woman as Decoration by Burbank

      Women as Sex Vendors by Tobias

      Women Painters of the World by Sparrow

      Roman Women by Brittain

      Oriental Women by Pollard

      Greek Women by Carroll

      Women of Early Christiantity by Brittain

      Women of Medieval France by Butler

      Women of the Romance Coutnries by Effinger

      Women of Modern France by Thieme

      Women of the Tuetonic Nations by Schoenfeld

      Women of England by James

      Great Women by Lord

      Women of America by Larus

      The Women of Tomorrow by Hard

      The Wit of Women by Sanborn

      In Defense of Women by Mencken

      The Subjectio of Women by Mill

      The Four Epochs of Woman's Lie by Galbraith

      Dedicated to Her Majesty Queen Alexandra.

      (Published March, 1905).

      HODDER & STOUGHTON, 27, Paternoster Row, London.

      The Art and Life Library

      H&S

      1905

      Hodder & Stoughton

      27 Paternoster Row-London

      DEDICATED BY GRACIOVS PERMISSION

       TO

       HER MAJESTY QVEEN ALEXANDRA

       IN THIS YEAR of OVR LORD

       ONE THOVSAND NINE HVNDRED & FIVE

      Printed by

       PERCY LUND, HUMPHRIES & CO., LTD.

       The Country Press, Bradford.

      British School, 1874

      MISSED!

       REPRODUCED BY PERMISSION OF CHARLES CHESTON, ESQ.,

       FROM: THE ORIGINAL WATER-COLOUR DATED 1874,

       THE YEAR IN WHICH THE PAINTER'S FAMOUS ROLL-CALL

       WAS PURCHASED BY QUEEN VICTORIA AT THE ROYAL ACADEMY.

       Lady Elizabeth Butler, Painter

      PREFACE

      Women Painters in Italy since the Fifteenth Century By Walter Shaw Sparrow

      Early British Women Painters

      Modern British Women Painters By Ralph Peacock

      Women Painters in the United States of America

      Of Women Painters in France By Léonce Bénédite.  Translated into English by Edgar Preston

      Women Painters in Belgium and in Holland By N. Jany

      In Germany and Austria, in Russia, Switzerland and Spain By Wilhelm Schölermann.

      Some Finnish Women Painters By Helena Westermarck, Critic and Painter

      PREFACE

      HAT is genius? Is it not both masculine and feminine? Are not some of its qualities instinct with manhood, while others delight us with the most winning graces of a perfect womanhood? Does not genius make its appeal as a single creative agent with a two-fold sex?

      But if genius has its Mirandas and its Regans no less than its infinite types of men, ranging from Prospero and Ferdinand to Caliban and Trinculo, its union of the sexes does not remain always at peace within the sphere of art. Sometimes, in the genius of men, the female characteristics gain mastery over the male qualities; at other times the male attributes of woman's genius win empire and precedence over the female; and whenever these things happen, the works produced in art soon recede from the world's sympathies, losing all their first freshness. They may guide us, perhaps, as finger-posts in history, pointing the way to some movement of interest; but their first popularity as art is never renewed. Style is the man in the genius of men, style is the woman in the genius of the fair. No male artist, however gifted he may be, will ever be able to experience all the emotional life to which women are subject; and no woman of abilities, how much soever she may try, will be able to borrow from men anything so invaluable to art as her own intuition and the prescient tenderness and grace of her nursery-nature. Thus, then, the bisexuality of genius has limits in art, and those limits should be determined by a worker's sex.

      As examples in art of complete womanliness, mention may be made of two exquisite portraits by Madame Le Brun, in which, whilst representing her little daughter and herself, the painter discloses the inner essence and the life of maternal love, and discloses them with a caressing playfulness of passion unattainable by men, and sometimes unappreciated by men. Here, indeed, we have the poetry of universal motherhood, common to the household hearts of good women the wide world over. Such pictures may not be the highest form of painting, but highest they are in their own realm of human emotion; and they recall to one's memory that truth in which Napoleon the Great ranked the gentler sex as the most potent of all creative artists. The future destiny of children, said he, is always the work of mothers.

      But some persons may answer: Yes, but the achievements of women painters have been second-rate. Where is there a woman artist equal to any man among the greatest masters? Persons who do not think are constantly asking that question. The greatest geniuses were all hustled and moulded into shape by the greatest epochs of ambition in the lives of nations, just as the mountains of Switzerland were thrown up to their towering heights by tremendous forces underground; and, as the Alps do not repeat themselves, here and there, for the pleasure of tourists, so the greatest geniuses do not reappear for the pleasure of critics or of theorists. And this is not all. Why compare the differing genius of women and men? There is room in the garden of art for flowers of every kind and for butterflies and birds of every species; and why should anyone complain because a daisy is not a rose, or because nightingales and thrushes, despite their family resemblance, have voices of their own, dissimilar in compass and in quality?

      The present book, then, is a history of woman's garden in the art of painting, and its three hundred pictures show what she has grown in her garden during the last four centuries and a half. The Editor has tried to free his mind of every bias, so that this book, within the limits of 332 pages, might be as varied as the subject. The choice of pictures has not been easy, and a few disappointments have attended the many communications with the owners of copyrights; but only two invited artists have declined to contribute. It is not often that so much willing and generous help has come to an Editor from so many countries; and it is with gratitude that I acknowledge the assistance received from the contributors of to-day. Seven pictures are reproduced in colour-facsimile, thanks to the courtesy of the following artists and collectors: Mrs. Allingham, Miss Ann Macbeth, Mr. James Orrock, R.I., Mr. W A. Cadbury, Mr. Charles Cheston, Mr. Klackner, and Mr. Charles Dowdeswell.

      The Dedication Page, the Initials Letters, the End Papers, are all designs by Miss Ethel Larcombe, while the Title Page and the Cover are the work of Mr. David Veazey. The silhouettes by Mlle. Nelly Bodenheim, used as tail-pieces, are published by permission of S. L. van Looÿ, Amsterdam.

      This volume being the first illustrated history of the Women Painters of the World, Her Majesty Queen Alexandra has honoured it by graciously accepting the Dedication; and in this encouraging act is revealed the untiring interest and solicitude with which Her Majesty has ever followed the progress of women's work.

      THE EDITOR.

      SILHOUETTE BY NELLY BODENHEIM, HOLLAND.

      School of British Water-Colour, Contemporary

      AN ENGLISH HEBE.

       AFTER THE ORIGINAL DRAWING

       H.R.H. The Princess Louise, Duchess of Argyll

      Preface: On the Scope of the Present Volume. By the Editor. Chapter I: Women Painters in Italy since the Fifteenth Century. By Walter Shaw Sparrow Chapter II: Early British Women Painters. By the Editor. Chapter III: Modern British Women Painters. By Ralph Peacock. Chapter IV: Women Painters in the United States of America. By the Editor. Chapter V: Of Women Painters in France. By Léonce Bénédite. Translated into English by Edgar Preston. Chapter VI: Women Painters in Belgium and in Holland. By N. Jany. Translated into English by Edgar Preston. Chapter VII: Women Painters in Germany and Austria, in Russia, Switzerland and Spain. By Wilhelm Schölermann. Translated into English by Wilfrid Sparroy. Chapter VIII: Some Finnish Women Painters. By Helena Westermarck.

      Owing to various reasons, the work of several well-known painters could not be obtained until this book had passed through the press, and a supplement of pictures has therefore been placed between page 324 and page 325. It includes work by Lady Alma-Tadema, Mrs. Seymour Lucas, Mrs. Marrable, Miss Maud Earl, Miss Julia B. Folkard, Miss Maude Goodman, Miss Flora M. Reid, Miss Blanche Jenkins, and Madame Arsène Darmesteter.

      It is hoped that the Women Painters of To-day may be studied again in a second volume. In the present book, dealing with 450 years of work, the living painters could not be fully represented, for there are thousands of ladies who now win a place in the art exhibitions of Europe and America.

      Venetian School. 1675-1757

      PORTRAIT OF A LADY UNKNOWN.

       AFTER THE PASTEL IN THE MUSÉE DE CHANTILLY,

       FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS

       Rosalba Carriera, Pastellist

       1675-1757

      Women Painters in Italy since the Fifteenth Century By Walter Shaw Sparrow

      LDER

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