Louise Jopling

Louise Jopling: A Biographical and Cultural Study is the first in-depth study of this nineteenth-century painter who was among the first women admitted to the Royal Society of British Artists (in 1902). In part an engaging biography of a compelling celebrity figure and social campaigner in Victorian England, Patricia de Montfort?s book interweaves a vivid and rounded portrait of this Manchester-born artist, teacher, and author with insightful analysis of Jopling?s artwork and the aristocratic-bohemian social milieu that she inhabited. Painted by Whistler and Millais, Jopling herself portrayed Victorian-era celebrities like the actress Lillie Langtry and her patrons included members of the de Rothschild banking family. Her work also included figure compositions, interiors, landscape and genre scenes. Drawing upon Jopling's unpublished diaries, notebooks and correspondence as well as her 1925 memoir Twenty Years of My Life, de Montfort?s study opens the way for a twenty-first century rediscovery of this now little-known artist, who combined professional artistic practice with social activism, against the backdrop of an often troubled private life. The full scope of Jopling?s artistic endeavours are discussed in relation to the cultural framework for fin de si?e working women, as are her progressive views on education and women?s suffrage.

Louise Jopling: A Biographical and Cultural Study is the first in-depth study of this nineteenth-century painter who was among the first women admitted to the Royal Society of British Artists (in 1902). In part an engaging biography of a compelling celebrity figure and social campaigner in Victorian England, Patricia de Montfort?s book interweaves a vivid and rounded portrait of this Manchester-born artist, teacher, and author with insightful analysis of Jopling?s artwork and the aristocratic-bohemian social milieu that she inhabited. Painted by Whistler and Millais, Jopling herself portrayed Victorian-era celebrities like the actress Lillie Langtry and her patrons included members of the de Rothschild banking family. Her work also included figure compositions, interiors, landscape and genre scenes. Drawing upon Jopling's unpublished diaries, notebooks and correspondence as well as her 1925 memoir Twenty Years of My Life, de Montfort?s study opens the way for a twenty-first century rediscovery of this now little-known artist, who combined professional artistic practice with social activism, against the backdrop of an often troubled private life. The full scope of Jopling?s artistic endeavours are discussed in relation to the cultural framework for fin de si?e working women, as are her progressive views on education and women?s suffrage.

Too "artistic" for political history, too political for the history of art, the visual history of the campaign for women's suffrage in Britain has long been neglected. In this comprehensive and pathbreaking study, Lisa Tickner discusses and illustrates the suffragist use of spectacle—the design of banners, posters and postcards, the orchestration of mass demonstrations—in an unprecedented propaganda campaign.

This book conceives the role of the modern town as a crucial place for material and cultural circulations of luxury. It concentrates on a critical period of historical change, the long eighteenth and nineteenth centuries, that was marked by the passage from a society of scarcity to one of expenditure and accumulation, from ranks and orders to greater social mobility, from traditional aristocratic luxury to a new bourgeois and even democratic form of luxury. This volume recognizes the notion that luxury operated as a mechanism of social separation, but also that all classes aspired to engage in consumption at some level, thus extending the idea of what constituted luxury and blurring the boundaries of class and status, often in unsettling ways. It moves beyond the moral aspects of luxury and the luxury debates to analyze how the production, distribution, purchase or display of luxury goods could participate in the creation of autonomous selves and thus challenge gender roles.

First Published in 1997. This book is intended as a resource for anyone interested in the artistic contributions and activities of women in nineteenth-century Britain. It is an index as well as an annotated bibliography and provides sources for information about women well known in their own time and about women who were little known then and are forgotten now

Women, Art and Money in England establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability – prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines.

THE HAMMOCK: A novel based on the true story of French painter James Tissot portrays ten remarkable years in the life of James Tissot (1836-1902), who rebuilt - and then lost - his reputation in London. THE HAMMOCK is a psychological portrait, exploring the forces that unwound the career of this complex man. Based on contemporary sources, the novel brings Tissot's world alive in a story of war, art, Society glamour, love, scandal, and tragedy.

The most comprehensive volume of its kind, Gray's Dictionary of British Women Artists offers extensively-researched biographies of some of the most significant female contributors to British art.This volume will make a valuable contribution to the study of art history. It will also provide readers with significant insight into a long-neglected aspect of history - the lives and achievements of women artists. Each entry provides key biographical information, as well as (where possible) commentaryon the artist's studies, lifestyle, travels and family. Entries also detail significant works, exhibitions and membership of societies. Gray's introduction provides a useful context to the biographies.