Women Writing Art History in the Nineteenth Century

Looking Like a Woman

Fiction & Literature, Literary Theory & Criticism, British, Nonfiction, Art & Architecture, General Art
Cover of the book Women Writing Art History in the Nineteenth Century by Hilary Fraser, Cambridge University Press
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Author: Hilary Fraser ISBN: 9781316054994
Publisher: Cambridge University Press Publication: September 4, 2014
Imprint: Cambridge University Press Language: English
Author: Hilary Fraser
ISBN: 9781316054994
Publisher: Cambridge University Press
Publication: September 4, 2014
Imprint: Cambridge University Press
Language: English

This book sets out to correct received accounts of the emergence of art history as a masculine field. It investigates the importance of female writers from Anna Jameson, Elizabeth Eastlake and George Eliot to Alice Meynell, Vernon Lee and Michael Field in developing a discourse of art notable for its complexity and cultural power, its increasing professionalism and reach, and its integration with other discourses of modernity. Proposing a more flexible and inclusive model of what constitutes art historical writing, including fiction, poetry and travel literature, this book offers a radically revisionist account of the genealogy of a discipline and a profession. It shows how women experienced forms of professional exclusion that, whilst detrimental to their careers, could be aesthetically formative; how working from the margins of established institutional structures gave women the freedom to be audaciously experimental in their writing about art in ways that resonate with modern readers.

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This book sets out to correct received accounts of the emergence of art history as a masculine field. It investigates the importance of female writers from Anna Jameson, Elizabeth Eastlake and George Eliot to Alice Meynell, Vernon Lee and Michael Field in developing a discourse of art notable for its complexity and cultural power, its increasing professionalism and reach, and its integration with other discourses of modernity. Proposing a more flexible and inclusive model of what constitutes art historical writing, including fiction, poetry and travel literature, this book offers a radically revisionist account of the genealogy of a discipline and a profession. It shows how women experienced forms of professional exclusion that, whilst detrimental to their careers, could be aesthetically formative; how working from the margins of established institutional structures gave women the freedom to be audaciously experimental in their writing about art in ways that resonate with modern readers.

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