Introduction

Abstract

Click to increase image sizeClick to decrease image size Notes [1] All the papers included in this volume were revised and edited in 2008. I would like to thank all the contributors for all their hard work and patience in the preparation of this special edition of Women’s History Review. [2] Linda Nochlin (1988) Why Have There Been No Great Women Artists, Linda Nochlin (Ed.) Women, Art and Power and Other Essays (Boulder: Westview Press), pp. 147–158. [3] Doves and Dreams. The Art of Frances and J. Herbert McNair. Exhibition, Hunterian Art Gallery and Walker Art Gallery, 2006. [4] www.npg.org.uk/whatson/exhibition/mirror-mirror-self-portraits-by-women-artists/conference/paper-5. See Liz Redeal, Whitney Chadwick & Frances Borzello (2002) Mirror Mirror: self‐portraits by women artists (New York: Watson‐Guptil). Frances Borzello (2000) A World of Our Own: women as artists since the Renaissance (New York: Watson‐Guptil). [5] Stephen Chaplin (1998) A Slade School of Fine Art Archive Reader: a compendium of documents, 1868–1975, in University College, London, contextualised with an historical and critical commentary augmented with material from dairies and interviews (London: n.p.) [6] Jan Marsh & Pamela Gerrish Nunn (1998) Pre‐Raphaelite Women Artists (London: Thames & Hudson). [7] For an introduction to the history of self‐portraiture, see Frances Borzello (1998) Seeing Ourselves: women’s self‐portraits (New York: Harry N. Abrams), pp. 17–35, and the exhibition catalogue by Rideal et al., Mirror Mirror. [8] Sylvia Plath (1975) Letters Home: correspondence 1950–1963 (London: Faber), p. 163 [9] Rozsika Parker & Griselda Pollock (1981) Old Mistresses: women, art and ideology (London: Pandora), p. 169. Praeger’s output has been invariably seen as the antithesis of modernism in Ireland and her work has been prescribed ‘sentimental’, ‘hackneyed’ and ‘of no consequence’; see S. B. Kennedy (1991) Irish Art and Modernism, 1880–1950 (Belfast: Institute of Irish Studies, Queens University), p. 192. She isn’t even mentioned in Dorothy Walker (1997) Modern Art in Ireland (Dublin: The Lilliput Press). [10] Anthea Callen (1979) The Angel in the Studio: women in the Arts and Crafts Movement 1870–1914 (London: Astragal). [11] Rozsika Parker (1989) The Subversive Stitch: embroidery and the making of the feminine (New York: Routledge), p. iv. [12] Margaret L. King (1991) Women of the Renaissance (Chicago: University Chicago Press), p. 160. [13] Catherine E. King (1998) Renaissance Women Patrons: wives and widows in Italy 1300–1550 (Manchester: Manchester University Press); Cynthia Lawrence (Ed.) (1997) Women and Art in Early Modern Europe: patrons, collectors and connoisseurs (University Park: Pennsylvania State University Press); Sheryl E. Reiss & David G. Wilkins (Eds) (2001) Beyond Isabella. secular women patrons of art in Renaissance Italy (Kirksville: Truman State University Press); Paola Tinagli (1997) Women in Italian Renaissance Art: gender, representation, identity (Manchester: Manchester University Press). [14] Nancy Armstrong (1990) The Occidental Alice, differences, 2, p. 34. [15] Henry James (2000) The Spoils of Poynton (Oxford: Oxford University Press), p. 4. [16] Charlotte Gere & Marina Vaizey (1999) Great Women Collectors (London: Philip Wilson). Charlotte Schreiber donated her collection of ceramics to the Victoria and Albert Museum. Dorothy Nevill’s eclectic collection is detailed in Ralph Nevill (Ed.) (1906) The Reminiscences of Lady Dorothy Nevill (London: Edward Arnold). [17] Dianne Sachko Macleod (2008) Enchanted Lives; Enchanted Objects: American women collectors and the making of culture, 1800–1940 (Berkeley: University of California Press). [18] D. Rigby & E. Rigby (1949) Lock, Stock and Barrel: the story of collecting (Philadelphia: J. B. Lippincott), p. 326. [19] Susan Pearce (1999) On Collecting: an investigation into collecting in the European tradition (London: Routledge); Russell Belk (1991) The Ineluctable Mysteries of Possessions, Journal of Social Behaviour and Personality, 6, pp. 17–55; Russell Belk & Melanie Wallendorf (2001) Of Mice and Men: gender identity in collecting, in Susan Pearce (Ed.) Interpreting Objects and Collections, (London: Routledge); Emily Apter (1991) Feminizing the Fetish: psychoanalysis and narrative obsession in turn‐of‐the‐century France (New York: Cornell University Press); Judith Halberstam (1998) Female Masculinity (Durham, NC: Duke University Press); Anne McClintock (1995) Imperial Leather: race, gender and sexuality in the colonial context (New York: Routledge). [20] Carol Armstrong & Catherine de Zegher (Eds) (2006) Women Artists at the Millennium (Boston, MA: MIT Press/October Books).