Battles, Self-Portraits, Satires: Women Artists 1520-1920
Mary Knowles, “Mary Knowles at her embroidery” (detail), 1779, needle painting. Photo: Birgitta Huse.
“The Tate Britain exhibition “Now you see us” aims at charting “women’s road to being recognised as professional artists”.”
“Which obstacles do women face nowadays when heading towards professional careers and aiming at financial success?”
Battles, Self-Portraits, Satires: Women Artists 1520-1920
Now you see us – at Tate Britain.
★★★★★
WRITTEN BY DR BIRGITTA HUSE, 15.05.2024
Professional success is inseparable from networking and visibility. This is nothing novel in our contemporary digital world in which the formerly unimaginable pace of networking seems to be unavoidable. Women artists between 1520 and 1920 knew about the crucial role of networking and being visible with their artworks. If possible, they worked at the Royal Court, they were connected with art dealers and patrons, they participated in exhibitions and presented their work in publications such as scientific and educational books. In an ideal situation, women artists were recognised and commercially successful with their works.
One of art history’s most celebrated women artists, Artemisia Gentileschi (1593 – 1652), created major works in London at the court of Charles I. She painted herself as a Self-portrait as the Allegory of Painting (La Pittura), c. 1638 – 1639. Even though she worked in the realm of Charles I, Gentileschi’s painting Susanna and the Elders, 1638-40, somehow disappeared and was only discovered recently. The painting is on loan from the Royal Collection for the very first time and is now part of the exhibition “Now you see us: Women Artists in Britain 1520 – 1920” at Tate Britain.
A later artist with a strong visibility in Britain was French painter Rosa Bonheur (1822 – 1899). Her paintings and prints of Sottish Highland cattle and sheep were popular with British patrons. Rosa Bonheur gained celebrity status. She was commercially and critically successful in a commercial partnership with Anglo-Belgian art dealer Ernest Gambart. In 1874 Elizabeth Butler’s (1846 – 1933) painting Calling the Roll after an Engagement, Crimea which is known as The Roll Call was not only hung ‘on the line’ at most prestigious, eye-level position. Indeed, it was “so popular with the public that a policeman had to be stationed nearby to protect the adjacent paintings” – explains Tate Britain’s show. Butler’s painting is very unusual for the time as women artists were not supposed to paint subjects and themes which were “reserved” for men like battle scenes or other war-related content. We read that the work caught the attention of Queen Victoria and that “the copyright sold for the enormous sum of £ 1,200”.
Exhibition view with Artemisia Gentileschi, “Self-portrait as the Allegory of Painting (La Pittura)”, c. 1638 – 1639. Photo: Birgitta Huse
Florence Claxton, “Womans Work A Medley”, 1861, oil paint on canvas. Photo: Birgitta Huse
The above-described successes should not deceive our perception of the situation of many woman artists in Britain between 1520 and 1920. Most of them have not been continuously seen and recognised throughout art history. The Tate Britain exhibition “Now you see us” aims at charting “women’s road to being recognised as professional artists”. The 110 artists presented with more than 200 works went against societal expectations in their time and, accordingly, faced many obstacles which are disclosed in the show. Florence Claxton (1838 – 1920) presents a whole variety of these obstacles in her painting ‘Woman’s Work’: A Medley, 1861. This painting not only caused a controversial discussion when it was first exhibited but inspires reflection on the contemporary state of the matter today. Which obstacles do women face nowadays when heading towards professional careers and aiming at financial success?
Augusta Innes “Withers Crompton’s Sheba Queen (Gooseberries)” (detail), 1825, watercolour on paper. Photo: Birgitta Huse
Sylvia Gosse, “The Printer, c. 1915”, oil on canvas. Photo: Birgitta Huse.
In 1770 the Royal Academy had banned “Needle-work, artificial flowers, cut Paper, Shell-work, or any such baubles” as well as works which were copies from its exhibitions. Miniature painting, pastel and watercolour which were prominent areas of work of women artists were “treated dismissively” is explained in the Tate Britain show. It was precisely with these works that women were able to make a living as a professional, sometimes more and sometimes less successfully. Women patrons, fashionable clienteles or tourists had an interest in and bought miniature paintings and “needle paintings” which are made with woollen yarn and consist of free stitches of varied lengths, thus resembling brush strokes. Mary Knowles’ needle work Mary Knowles at her embroidery, 1779, functions as a prominent example for Queen Charlotte’s appreciation of “needle paintings”. Knowles (1733 – 1807) depicts herself copying an oil portrait painting of George III, the needle painting copy being a commission by Queen Charlotte. What does the exhibition visitor learn regarding Knowles’ renumeration? An exhibition text explains: “The Queen gave Knowles a gift of £ 800 for it, which allowed her husband to begin studying medicine.” Just like Florence Claxton’s ‘Woman’s Work’: A Medley, as mentioned above, this detail information inspires thoughtful reflection about contemporary, surprisingly similar stories in relation to some women’s renumeration.
The show introduces the creators of the oil paintings, watercolours, pastels, sculptures, photography and “needle painting” in a chronological way. The stories are as varied as the individual biographies of the artists and their artworks. At the same time, the remarkable inspiration and creativity, strength, and assertiveness with which these women faced obstacles in their way run like a red thread through the show. This continues to resonate after having stepped out of Tate Britain into one’s own everyday life again. The exhibition offers a colourful and freshly composed bouquet of essential and fascinating information. Though the enjoyment of the miniatures on show is slightly disturbed by reflections of light, it is a special treat to be able to look at so many extraordinary artworks by women artists being united in one exhibition.
“Now you see us: Women Artists in Britain 1520 - 1920"” is on show at Tate Britain from 16.05.2024 until 13.10.2024