• Issue 28 • 2019 • Old Masters, Modern Women

    Issue 28 • 2019 • Old Masters, Modern Women


In nineteenth-century Britain, at a moment when art history was crystallizing into a discipline and the social and public function of art was a topic of heated debate, a significant number of women pursued careers in art writing, positioning themselves as authoritative voices in this newly emerging field. Female art historians, writers, and critics authored countless monographs, articles, pamphlets, guidebooks, and travel accounts detailing their encounters with old master works of art. However, like female artists — the ‘Old Mistresses’ — their important contributions to the history of art have remained largely unacknowledged. This landmark collection celebrates the foundational interventions of women such as Maria Callcott, Anna Jameson, Mary Merrifield, Elizabeth Eastlake, Julia Cartwright, Maud Cruttwell, Mary Berenson, Lucy Olcott Perkins, and Christiana Herringham in the history, collection, display, and reception of the old masters. Featuring fifteen articles from a range of disciplinary perspectives, and uncovering a wealth of little-known texts and unpublished archival material, it takes us from women’s early forays into art criticism in late eighteenth-century travel writing through their accomplishment of sound scholarly methods and professional reputations in the nineteenth and early twentieth centuries. The issue discusses art historians whose methods were empirical and whose objectives were to achieve a greater understanding of technical skills of old master painters, alongside women who wrote lyrically about the imaginative aspects of their work, or were more interested in analysing its iconographical as well as its historical and political dimensions. It thinks about how women look at old master paintings, such as Moroni’s Tailor, then and now. An appendix of short biographies of the women discussed provides factual information about their lives, and a comprehensive bibliography takes stock of where we have arrived, demonstrating just how substantial and multifaceted the field has become, and how impossible to ignore. Cover image: Lady Elizabeth Eastlake, The Virgin and Child with Saints Paul and George, after Giovanni Bellini, pen and ink, 12.6 × 15.9 cm, The Lady Eastlake Drawing Album (1842–58), fol. 39. © The National Gallery, London. The thumbnails in the Table of Contents for the introduction to this issue and to Diane Apostolos-Cappadona’s introduction to the Biographical Section are details from this drawing.

Preface


Preface

Preface

Gabriele Finaldi

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Introduction


Introduction

Introduction

Maria Alambritis (ed.) , Susanna Avery-Quash and Hilary Fraser

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Article


‘Nothing seems to have escaped her’: British Women Travellers as Art Critics and Connoisseurs (1775–1825)

‘Nothing seems to have escaped her’: British Women Travellers as Art Critics and Connoisseurs (1775–1825)

Isabelle Baudino

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

‘A revolution in art’: Maria Callcott on Poussin, Painting, and the Primitives

‘A revolution in art’: Maria Callcott on Poussin, Painting, and the Primitives

Caroline Palmer

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Illuminating the Old Masters and Enlightening the British Public: Anna Jameson and the Contribution of British Women to Empirical Art History in the 1840s

Illuminating the Old Masters and Enlightening the British Public: Anna Jameson and the Contribution of British Women to Empirical Art History in the 1840s

Susanna Avery-Quash

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Postscript to ‘Illuminating the Old Masters and Enlightening the British Public’

Postscript to ‘Illuminating the Old Masters and Enlightening the British Public’

Susanna Avery-Quash

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Navigating Networks in the Victorian Age: Mary Philadelphia Merrifield’s Writing on the Arts

Navigating Networks in the Victorian Age: Mary Philadelphia Merrifield’s Writing on the Arts

Zahira Véliz Bomford

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Lady Eastlake and the Characteristics of the Old Masters

Lady Eastlake and the Characteristics of the Old Masters

Julie Sheldon

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

George Eliot, Lady Eastlake, and the Humbug of Old Masters

George Eliot, Lady Eastlake, and the Humbug of Old Masters

Patricia Rubin

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

‘Such a pleasant little sketch […] of this irritable artist’: Julia Cartwright and the Reception of Andrea Mantegna in Late Nineteenth-Century Britain

‘Such a pleasant little sketch […] of this irritable artist’: Julia Cartwright and the Reception of Andrea Mantegna in Late Nineteenth-Century Britain

Maria Alambritis (ed.)

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Writing Cosmopolis: The Cosmopolitan Aesthetics of Emilia Dilke and Vernon Lee

Writing Cosmopolis: The Cosmopolitan Aesthetics of Emilia Dilke and Vernon Lee

Hilary Fraser

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Mary Berenson and The Guide to the Italian Pictures at Hampton Court

Mary Berenson and The Guide to the Italian Pictures at Hampton Court

Ilaria Della Monica

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

An Unpublished Essay by Mary Berenson, ‘Botticelli and his Critics’ (1894–95)

An Unpublished Essay by Mary Berenson, ‘Botticelli and his Critics’ (1894–95)

Jonathan K. Nelson

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Maud Cruttwell and the Berensons: ‘A preliminary canter to an independent career’

Maud Cruttwell and the Berensons: ‘A preliminary canter to an independent career’

Tiffany L. Johnston

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Writing Under Pressure: Maud Cruttwell and the Old Master Monograph

Writing Under Pressure: Maud Cruttwell and the Old Master Monograph

Francesco Ventrella

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Collaboration and Correction: Re-examining the Writings of Lucy Olcott Perkins, ‘a lady resident in Siena’

Collaboration and Correction: Re-examining the Writings of Lucy Olcott Perkins, ‘a lady resident in Siena’

Imogen Tedbury

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Women in the Galleries: New Angles on Old Masters in the Late Nineteenth Century

Women in the Galleries: New Angles on Old Masters in the Late Nineteenth Century

Meaghan Clarke

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

‘This will be a popular picture’: Giovanni Battista Moroni’s Tailor and the Female Gaze

‘This will be a popular picture’: Giovanni Battista Moroni’s Tailor and the Female Gaze

Lene Østermark-Johansen

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Biographical Section


Introduction

Introduction

Diane Apostolos-Cappadona

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Mary Berenson (14 February 1864–23 March 1945)

Mary Berenson (14 February 1864–23 March 1945)

Tiffany L. Johnston

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Maria, Lady Callcott (19 July 1785–21 November 1842)

Maria, Lady Callcott (19 July 1785–21 November 1842)

Caroline Palmer

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Julia Cartwright (7 November 1851–28 April 1924)

Julia Cartwright (7 November 1851–28 April 1924)

Maria Alambritis (ed.)

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Maud Alice Wilson Cruttwell (1860–1939)

Maud Alice Wilson Cruttwell (1860–1939)

Francesco Ventrella

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Emilia Francis, Lady Dilke (2 September 1840–24 October 1904)

Emilia Francis, Lady Dilke (2 September 1840–24 October 1904)

Hilary Fraser

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Elizabeth Eastlake (17 November 1809–2 October 1893)

Elizabeth Eastlake (17 November 1809–2 October 1893)

Julie Sheldon

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Eliza Foster (dates unknown)

Eliza Foster (dates unknown)

Patricia Rubin

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Christiana Herringham (8 December 1852–25 February 1929)

Christiana Herringham (8 December 1852–25 February 1929)

Meaghan Clarke

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Anna Brownell Jameson (17 May 1794–17 March 1860)

Anna Brownell Jameson (17 May 1794–17 March 1860)

Diane Apostolos-Cappadona

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Vernon Lee (14 October 1856–13 February 1935)

Vernon Lee (14 October 1856–13 February 1935)

Diane Apostolos-Cappadona

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Mary Philadelphia Merrifield (15 April 1804–4 January 1889)

Mary Philadelphia Merrifield (15 April 1804–4 January 1889)

Zahira Véliz Bomford

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Anna Miller (1741–1781)

Anna Miller (1741–1781)

Isabelle Baudino

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Lucy May Perkins (1877–1922)

Lucy May Perkins (1877–1922)

Imogen Tedbury

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

Bibliography


Bibliography

Bibliography

Maria Alambritis (ed.)

2019-06-02 Issue 28 • 2019 • Old Masters, Modern Women

19 Live


Reflections on 19 Live

Reflections on 19 Live

Herb Sussman

2019-06-02 19 Live

Also a part of:

Issue: Issue 28 • 2019 • Old Masters, Modern Women

[In]Visible: Paintings by Women Artists in the National Gallery, London: An Interview with Letizia Treves and Francesca Whitlum-Cooper

[In]Visible: Paintings by Women Artists in the National Gallery, London: An Interview with Letizia Treves and Francesca Whitlum-Cooper

Susanna Avery-Quash , Letizia Treves and Francesca Whitlum-Cooper

2019-06-02 19 Live

Also a part of:

Issue: Issue 28 • 2019 • Old Masters, Modern Women

Review of ‘Annie Swynnerton: Painting Light and Hope’, Manchester Art Gallery

Review of ‘Annie Swynnerton: Painting Light and Hope’, Manchester Art Gallery

Emma Merkling

2019-06-02 19 Live

Also a part of:

Issue: Issue 28 • 2019 • Old Masters, Modern Women

Review of ‘Christiana Herringham: Artist, Campaigner, Collector’, Royal Holloway, Emily Wilding Davison Building

Review of ‘Christiana Herringham: Artist, Campaigner, Collector’, Royal Holloway, Emily Wilding Davison Building

Maria Alambritis (ed.)

2019-06-02 19 Live

Also a part of:

Issue: Issue 28 • 2019 • Old Masters, Modern Women

‘[In]Visible: Irish Women Artists from the Archives’: An Interview with Emma O’Toole

‘[In]Visible: Irish Women Artists from the Archives’: An Interview with Emma O’Toole

Susanna Avery-Quash and Emma O’Toole

2019-06-02 19 Live

Also a part of:

Issue: Issue 28 • 2019 • Old Masters, Modern Women