Art Sunday; A style or School of Art
Glasgow Girls: Women in Art and Design, 1880-1920
Before
start I have to say all of this is taken from a project I did a few
years ago, I’ve just cut out most of the writing and tried to give the
bare bones of it here. The pictures are not generally available on the
internet, some may be but most are not, which is why the quality of the
pictures is a little poor. They were originally scanned onto my computer
a couple of years ago from illustrated art books. I used quite a few
books at the time but if anyone is really interested in this work the
book to get goes by the name ‘The Glasgow Girls; Women in Art and Design, 1880-1920’ by
Jude Burkhauser , hence my title for today. This is one of the best
specialist art Books I’ve ever found and it is usually available quite
cheap on Amazon.
The forgotten Artists ‘The Glasgow Girls’
What
is known as the ‘Glasgow Style’ is known mostly by the work of ‘The
Glasgow Boys’. The female Artists of the time, and their work, is much
less acknowledged. The painters Bessie MacNicol and Nora Neilson Grey
are among the better known, possible because their work is easily
identifiable with the work of the Glasgow Boys, their paintings share
certain characteristics associated with ‘The Glasgow Style’. Charles
Renée Mackintosh was central to the Glasgow
movement and Margaret and Frances Macdonald are known as much for their
inclusion in ‘The Four’, with Charles Rennie Mackintosh and Herbert
MacNair, as for their individual work. Margaret Macdonald’s contribution
to the work of Charles Rennie Mackintosh was recognised by her
contemporaries but became forgotten until the second half of the
twentieth century. Researchers have asked the question ‘why, if these
women were so visible in 1900 did they become virtually invisible by
1970?’. Some previously given answers have been; because the language of
Art is gender specific, that is, ‘ the individual artistic creativity
is spoken and written of as a male attribute’, another answer has been
that the traditional textbooks used by those teaching Art History have
not included women Artists’. In mid to late
nineteenth century there was a strict hierarchy within Art, the ‘Fine
Arts’ of painting, sculpture and Architecture were dominated by men and
the ‘lesser Arts’; watercolours, drawing, design and handicrafts were
dominated by women. These things were considered ‘ladylike’ but not
particularly artistic. Art Institutions and Schools were, as with all
public bodies, run for men by men, with women playing little part. Craft
and design were considered ‘less’ than fine Art and Art students were
encouraged to progress from craft and toward fine Art. Art
Historians have largely ignored the contributions of these women
artists but it was the women who contributed most to the development of ‘Craft
and Design’. They took what was traditionally associated with the
women’s role; needlework, jewellery, fashion and costume design and
turned them into art forms in their own right. Needlework became known as ‘Artistic Needlework at the School of Art’. Previously, these things had been considered ladylike but not particularly artistic. The
Glasgow Style gained international recognition due initially to the
work of the ‘Glasgow Boys’, mostly painters, but it was the women who
brought recognition to craft and design. The work
of the women has been largely forgotten but they were responsible for
bringing women out of the private domain and into the public arena, at
least as far as the Art World was concerned. Prior to this women Artists
had no public platform, their work was confined to the home and
undervalued when compared to the better known and accepted paintings of
the mostly male painters.
'A Ponde by Francis MacDonald
The Glasgow Girls
There were several pairs of sisters included in ‘The Glasgow Girls’
There was Margaret and Frances Macdonald, (sisters). Margaret married Charles Rennie Macintosh and Frances
married Herbert MacNair, they were collectively known as 'the four'
The illustrations 2 and 3 are watercolours called 'the Spook School' by
the MacDonald sisters.
Agnes and Lucy Raeburn (sisters),
Illustration 4 & 5, lithographic poster by Agnes Raeburn,1897, Bookplate for Lucy Raeburn, 1893, by Frances Macdonald
Poster by Agnes Raeburn
Margaret and Mary Gilmore, (sisters)
Illustration 6 & 7, White metal paper knife by Margaret 1910, Brass dish by Mary 1901
Hanna and Helen Walton, (sisters)
Illustration 8 & 9, tea set by Helen Walton 1905, Ceramic tile by Hanna Walton
Dorothy and Olive Carlton Smyth, (sisters)
Illustration 10 & 11, Costume by Dorothy 1900’s and Pytheas buys Amber, colour on vellum 1927
Other central figures include
Jessie Newbery
(Wife of the head of The Glasgow School of Art Fra Newbury),
Illustration 12, collar and belt embroidered and appliquéd
Agnes Bankie Harvey,
Illustration 13, Crescent Moon in Brass thought to be by Agnes
Nora Neilson Grey,
Illustration 14,Little brother, oil on canvas 1920
Annie French,
Illustration 15, Watercolour The five princesses
Jessie M King,
Illustration
16, 17 & 18 Silver and Enamel Pendent, 1910, illustration for Oscar
Wild and Helen Paxton Brown, 1904, Chalk and watercolour.
Ann Macbeth.
Illustration 19, Watercolou,r Elspeth Currie age eight
De Courcy Lewthwaite Dewar
Illustration 20, Silver Cup & Cover, 1912.
Female teachers at The Glasgow School of Art.
It
was Jessie Newbury’s husband, Fra who encouraged women artists to
become members of his staff. When Newbury took over in 1885 there were
no female members of staff, then in 1892 he employed a ‘Miss Dunlop’ to
teach ‘artistic needlework’. There is a reference in the ‘annual report’
that year to ‘artistic needlework taught by a lady.
Jessie Newbury and Ann Macbeth both taught artistic needlework and gained international reputations for their work.
Jessie M King became famous for her work as a book illustrator and jewellery designer and taught illustrating and ceramic decoration.
Ann Macbeth took over from Jessie Newbury and became head of embroidery in 1909.
Margaret and Frances Macdonald left the school in 1894 and set up their own studio in Glasgow.
Frances also taught embroidery and metalwork design between 1908-1910.
Agnes Bankie Harvey taught metal work, enamelling and goldsmithing.
De Courcy Lewthwaite Dewar taught enamelling and other applied arts between 1900-1928.
Susan Crawford taught etching.
Helen Muir Wood taught enamelling and block cutting.
Nora Neilson Grey taught fashion plate drawing.
Annie French taught ceramic decoration.
Helen Paxton Brown, Margaret Swanson and Ann Arthur all taught in the school of embroidery and needlework.
Sisters Dorothy and Olive Carlton Smyth taught
wood block printing, metalwork, gold and silver smithing, mosaics,
lithography, miniature painting and the history of costume and armour.
I
think these women produced some wonderful work and gave recognition and
high profile to craft work which was previously looked down on by the
art World. Somehow they have been forgoten by history which is a great
shame.
starfishred wrote on Jul 6, '08
wow what a wonderful tour thanks I will be back more to see all these wonderful links
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brendainmad wrote on Jul 6, '08
Yes,
a shame that they should be forgotten if the rest of their work is
anything like you've posted here. I'm going to go have a look at the
pictures now, but just wanted to thank you for giving us a lesson in
Scottish art, especially about The Glasgow Girls.
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