{"title":"Mary Berenson (14 February 1864–23 March 1945)","authors":"Tiffany L. Johnston","doi":"10.16995/NTN.858","DOIUrl":"https://doi.org/10.16995/NTN.858","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73045715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although his long-time companion and wife, Mary Costelloe Berenson, was Bernard Berenson’s most conspicuous female protegee, she was obligated to write under a pseudonym. She therefore focused a large share of her energies in assisting Bernard in his research and writing, as well as in shaping the reception of his school of connoisseurship through articles and reviews. Among the several sapphic women in their circle studying art — a group Mary dubbed the ‘Virgins of the Hill’ — Maud Cruttwell was perhaps the most outwardly successful. Having studied under the tutelage of both Mary and Bernard Berenson, she established an independent reputation by publishing a series of popular artist monographs in rapid succession. Though she eventually became disillusioned with the field of art history, her contributions, important for their popularization of Berensonian connoisseurship, long remained benchmark resources in, as well as models for, the study of Italian Renaissance art.
{"title":"Maud Cruttwell and the Berensons: ‘A preliminary canter to an independent career’","authors":"Tiffany L. Johnston","doi":"10.16995/NTN.821","DOIUrl":"https://doi.org/10.16995/NTN.821","url":null,"abstract":"Although his long-time companion and wife, Mary Costelloe Berenson, was Bernard Berenson’s most conspicuous female protegee, she was obligated to write under a pseudonym. She therefore focused a large share of her energies in assisting Bernard in his research and writing, as well as in shaping the reception of his school of connoisseurship through articles and reviews. Among the several sapphic women in their circle studying art — a group Mary dubbed the ‘Virgins of the Hill’ — Maud Cruttwell was perhaps the most outwardly successful. Having studied under the tutelage of both Mary and Bernard Berenson, she established an independent reputation by publishing a series of popular artist monographs in rapid succession. Though she eventually became disillusioned with the field of art history, her contributions, important for their popularization of Berensonian connoisseurship, long remained benchmark resources in, as well as models for, the study of Italian Renaissance art.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78842356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of this issue of 19 might raise a series of questions: Who were the women writing about old masters? What do we know about these women? How and where were they able to see old masters? Where were they writing? There were in fact many women working across the period and an overview of research on these women reveals recurring themes, such as the importance of networks, travel, translation, and empirical research. Anna Jameson, while ridiculed by Ruskin for knowing ‘as much of art as the cat’, set a precedent for later generations of women writing at the end of the century. This article will initially consider women’s contributions to art writing and the patterns that emerged as the century progressed. The recent National Gallery exhibition ‘Reflections’ brought together Van Eyck and the Pre-Raphaelites, and in the second half of the article I will look at how the Victorian fascination with old masters re-emerges at the end of the century. The study of the early Renaissance in Italian painting was foregrounded by a group of writers, the best known being Roger Fry and Bernard Berenson. This article will ask how and where women in this circle foregrounded analysis of historical techniques. Two case studies will be considered: the National Gallery and the Whitechapel Art Gallery. Art writers discussed will include Julia Cartwright, Vernon Lee, and the writer and artist Christiana Herringham. I will argue that gallery spaces were a nexus for the development of expertise on early Renaissance techniques and their dissemination. The involvement of women in not just art writing, but exhibitions of ‘masterpieces’, offers insight into the shaping of art history at the fin de siecle.
本期《19》的主题可能会引发一系列问题:那些写古代大师作品的女性是谁?我们对这些女人了解多少?他们怎么能在哪里看到古代大师的作品?他们在哪里写字?事实上，在这一时期有许多女性在工作，对这些女性的研究综述揭示了反复出现的主题，例如网络、旅行、翻译和实证研究的重要性。安娜·詹姆森虽然被罗斯金嘲笑为“和猫一样懂艺术”，但却为19世纪末的几代女性作家开创了先例。本文将首先考虑女性对艺术写作的贡献以及随着世纪的发展而出现的模式。最近的国家美术馆展览“反思”汇集了凡·艾克和拉斐尔前派，在文章的后半部分，我将看看维多利亚时代对早期大师的迷恋是如何在本世纪末重新出现的。对早期文艺复兴时期意大利绘画的研究被一群作家所重视，其中最著名的是罗杰·弗莱和伯纳德·贝伦森。本文将探讨如何以及在哪里，女性在这个圈子前景分析的历史技术。将考虑两个案例研究:国家美术馆和白教堂美术馆。讨论的艺术作家将包括Julia Cartwright, Vernon Lee和作家兼艺术家Christiana Herringham。我认为，画廊空间是早期文艺复兴技术专业知识发展及其传播的纽带。女性不仅参与艺术写作，而且参与“杰作”展览，这让我们深入了解了19世纪末艺术史的形成。
{"title":"Women in the Galleries: New Angles on Old Masters in the Late Nineteenth Century","authors":"Meaghan Clarke","doi":"10.16995/NTN.823","DOIUrl":"https://doi.org/10.16995/NTN.823","url":null,"abstract":"The subject of this issue of 19 might raise a series of questions: Who were the women writing about old masters? What do we know about these women? How and where were they able to see old masters? Where were they writing? There were in fact many women working across the period and an overview of research on these women reveals recurring themes, such as the importance of networks, travel, translation, and empirical research. Anna Jameson, while ridiculed by Ruskin for knowing ‘as much of art as the cat’, set a precedent for later generations of women writing at the end of the century. This article will initially consider women’s contributions to art writing and the patterns that emerged as the century progressed. The recent National Gallery exhibition ‘Reflections’ brought together Van Eyck and the Pre-Raphaelites, and in the second half of the article I will look at how the Victorian fascination with old masters re-emerges at the end of the century. The study of the early Renaissance in Italian painting was foregrounded by a group of writers, the best known being Roger Fry and Bernard Berenson. This article will ask how and where women in this circle foregrounded analysis of historical techniques. Two case studies will be considered: the National Gallery and the Whitechapel Art Gallery. Art writers discussed will include Julia Cartwright, Vernon Lee, and the writer and artist Christiana Herringham. I will argue that gallery spaces were a nexus for the development of expertise on early Renaissance techniques and their dissemination. The involvement of women in not just art writing, but exhibitions of ‘masterpieces’, offers insight into the shaping of art history at the fin de siecle.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79289545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the first years of the twentieth century, Lucy May Olcott (1877–1922) was an established authority on Sienese art. Her collaboration with historian William Heywood (1857–1919), with whom she authored their Guide to Siena: History and Art (1903), her marriage to Italian art scholar Frederick Mason Perkins (1872–1955), and her residence in Siena placed her, briefly, at the centre of a network of researchers and connoisseurs writing on Sienese art and history, undertaking collaborative research with unparalleled access to historic sites. Following the breakdown of her marriage, however, Olcott lost access to both her research subjects and her networks. Working from the United States, she sought out new platforms to continue her work, and her later writing indicates her continuing dedication to make lesser-known artworks better known to scholars and students alike. This article seeks to re-examine Olcott’s contribution by exploring the two different phases of her writing career. It embraces the networks and collaborations that brought such rigour to her research, while also exploring the tastes, instincts, and circumstances that made her writing valuable for its ‘directness and simplicity’. It thus raises further questions about the nature of husband and wife collaborations, and the privileges and limitations that such partnerships could bring to women writing art history in the early decades of the twentieth century.
20世纪初，露西·梅·奥尔科特(Lucy May Olcott, 1877-1922)是锡耶纳艺术领域公认的权威。她与历史学家威廉·海伍德(1857-1919)合作撰写了《锡耶纳:历史与艺术指南》(1903)，她与意大利艺术学者弗雷德里克·梅森·珀金斯(1872-1955)的婚姻，以及她在锡耶纳的住所，使她短暂地成为研究人员和鉴赏家撰写锡耶纳艺术和历史的网络的中心，以无与伦比的历史遗址进行合作研究。然而，在她的婚姻破裂之后，奥尔科特失去了与她的研究对象和她的关系网的联系。在美国工作期间，她寻找新的平台来继续她的工作，她后来的作品表明她继续致力于让学者和学生更好地了解不太知名的艺术品。本文试图通过探究奥尔科特写作生涯的两个不同阶段来重新审视她的贡献。它包含了为她的研究带来如此严谨的网络和合作，同时也探索了使她的作品因其“直接和简单”而有价值的品味，直觉和环境。因此，它提出了进一步的问题，关于夫妻合作的本质，以及这种合作关系可能给20世纪最初几十年的女性写艺术史带来的特权和限制。
{"title":"Collaboration and Correction: Re-examining the Writings of Lucy Olcott Perkins, ‘a lady resident in Siena’","authors":"Imogen Tedbury","doi":"10.16995/NTN.838","DOIUrl":"https://doi.org/10.16995/NTN.838","url":null,"abstract":"In the first years of the twentieth century, Lucy May Olcott (1877–1922) was an established authority on Sienese art. Her collaboration with historian William Heywood (1857–1919), with whom she authored their Guide to Siena: History and Art (1903), her marriage to Italian art scholar Frederick Mason Perkins (1872–1955), and her residence in Siena placed her, briefly, at the centre of a network of researchers and connoisseurs writing on Sienese art and history, undertaking collaborative research with unparalleled access to historic sites. Following the breakdown of her marriage, however, Olcott lost access to both her research subjects and her networks. Working from the United States, she sought out new platforms to continue her work, and her later writing indicates her continuing dedication to make lesser-known artworks better known to scholars and students alike. This article seeks to re-examine Olcott’s contribution by exploring the two different phases of her writing career. It embraces the networks and collaborations that brought such rigour to her research, while also exploring the tastes, instincts, and circumstances that made her writing valuable for its ‘directness and simplicity’. It thus raises further questions about the nature of husband and wife collaborations, and the privileges and limitations that such partnerships could bring to women writing art history in the early decades of the twentieth century.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82235787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Emilia Francis, Lady Dilke (2 September 1840–24 October 1904)","authors":"Hilary Fraser","doi":"10.16995/NTN.862","DOIUrl":"https://doi.org/10.16995/NTN.862","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84495935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1845 the Athenaeum bemoaned the loss to the nation of an ‘exquisite fragment’ by Filippino Lippi: the Angel Adoring once owned by the painter Augustus Wall Callcott and his wife Maria (1785–1842). This early painting, probably bought by Maria herself, epitomizes the revolutionary ideas set out in her publications on art. Initially known for her travel writing, she launched her art historical career in 1820 with a pioneering biography of Nicolas Poussin. A friend of painters such as Thomas Lawrence and J. M. W. Turner, she was especially close to Charles Eastlake and shared his desire to promote late medieval and early Renaissance art. On honeymoon in 1827 and 1828, Maria viewed such Primitive works in Germany and Italy, meeting the curators and artists who were producing a ‘revolution’ in taste. The trip resulted in Maria’s groundbreaking Essays Towards the History of Painting (1836). Prevented by ill health from making a substantial published contribution to the history of art, Maria Callcott influenced artistic debates of the day through her informal salon in Kensington. This article examines how she used her personal networks and travel experience to reassess works by the old masters, challenging conventional ideas, while also helping to combat prejudice against the female connoisseur.
{"title":"‘A revolution in art’: Maria Callcott on Poussin, Painting, and the Primitives","authors":"Caroline Palmer","doi":"10.16995/NTN.833","DOIUrl":"https://doi.org/10.16995/NTN.833","url":null,"abstract":"In 1845 the Athenaeum bemoaned the loss to the nation of an ‘exquisite fragment’ by Filippino Lippi: the Angel Adoring once owned by the painter Augustus Wall Callcott and his wife Maria (1785–1842). This early painting, probably bought by Maria herself, epitomizes the revolutionary ideas set out in her publications on art. Initially known for her travel writing, she launched her art historical career in 1820 with a pioneering biography of Nicolas Poussin. A friend of painters such as Thomas Lawrence and J. M. W. Turner, she was especially close to Charles Eastlake and shared his desire to promote late medieval and early Renaissance art. On honeymoon in 1827 and 1828, Maria viewed such Primitive works in Germany and Italy, meeting the curators and artists who were producing a ‘revolution’ in taste. The trip resulted in Maria’s groundbreaking Essays Towards the History of Painting (1836). Prevented by ill health from making a substantial published contribution to the history of art, Maria Callcott influenced artistic debates of the day through her informal salon in Kensington. This article examines how she used her personal networks and travel experience to reassess works by the old masters, challenging conventional ideas, while also helping to combat prejudice against the female connoisseur.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88784161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Maria, Lady Callcott (19 July 1785–21 November 1842)","authors":"Caroline Palmer","doi":"10.16995/NTN.849","DOIUrl":"https://doi.org/10.16995/NTN.849","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75488201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maria Alambritis reviews the exhibition ‘Christiana Herringham: Artist, Campaigner, Collector’ at Royal Holloway (14 January–8 March 2019).
Maria Alambritis在皇家霍洛威(2019年1月14日至3月8日)回顾了“克里斯蒂安娜·赫林厄姆:艺术家、活动家、收藏家”展览。
{"title":"Review of ‘Christiana Herringham: Artist, Campaigner, Collector’, Royal Holloway, Emily Wilding Davison Building","authors":"M. Alambritis","doi":"10.16995/NTN.852","DOIUrl":"https://doi.org/10.16995/NTN.852","url":null,"abstract":"Maria Alambritis reviews the exhibition ‘Christiana Herringham: Artist, Campaigner, Collector’ at Royal Holloway (14 January–8 March 2019).","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"255 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76998593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Anna Brownell Jameson (17 May 1794–17 March 1860)","authors":"Diane apostolos-Cappadona","doi":"10.16995/NTN.866","DOIUrl":"https://doi.org/10.16995/NTN.866","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82892256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his 1920 review of Vernon Lee’s avant-garde pacifist allegory Satan, the Waster: A Philosophical Trilogy, George Bernard Shaw salutes the author as a representative of ‘the old guard of Victorian cosmopolitan intellectualism’. Shaw’s formulation reflects the fact that he is writing after the watershed (and bloodshed) of World War I had rendered cosmopolitanism a contested concept. He looks back nostalgically to a cultural moment when the idea of transnational European cooperation seemed both right-thinking and realizable, a moment that he identifies with the figure of Vernon Lee (1856–1935). A century on, as we face another watershed in Anglo-European relations, it seems timely to revisit that cosmopolitan ideal, at once old guard and avant-garde, and how it inflected Victorian cultural history. This article will take a particular aspect of Lee’s protean oeuvre — her contribution to the historiography of art — as a starting point for reflecting on the cosmopolitan mobility of nineteenth-century female art historians, and how their unsettling subversion of national cultural boundaries was a shaping factor in the evolving identity of British art and art history as produced in Great Britain. It will consider in particular the transnational contribution of the late-Victorian historian of French art, Emilia Dilke (1840–1904), alongside Lee’s own books on Renaissance Italy.
{"title":"Writing Cosmopolis: The Cosmopolitan Aesthetics of Emilia Dilke and Vernon Lee","authors":"Hilary Fraser","doi":"10.16995/NTN.844","DOIUrl":"https://doi.org/10.16995/NTN.844","url":null,"abstract":"In his 1920 review of Vernon Lee’s avant-garde pacifist allegory Satan, the Waster: A Philosophical Trilogy, George Bernard Shaw salutes the author as a representative of ‘the old guard of Victorian cosmopolitan intellectualism’. Shaw’s formulation reflects the fact that he is writing after the watershed (and bloodshed) of World War I had rendered cosmopolitanism a contested concept. He looks back nostalgically to a cultural moment when the idea of transnational European cooperation seemed both right-thinking and realizable, a moment that he identifies with the figure of Vernon Lee (1856–1935). A century on, as we face another watershed in Anglo-European relations, it seems timely to revisit that cosmopolitan ideal, at once old guard and avant-garde, and how it inflected Victorian cultural history. This article will take a particular aspect of Lee’s protean oeuvre — her contribution to the historiography of art — as a starting point for reflecting on the cosmopolitan mobility of nineteenth-century female art historians, and how their unsettling subversion of national cultural boundaries was a shaping factor in the evolving identity of British art and art history as produced in Great Britain. It will consider in particular the transnational contribution of the late-Victorian historian of French art, Emilia Dilke (1840–1904), alongside Lee’s own books on Renaissance Italy.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78181218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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