Publications
Cet ouvrage fait suite à la tenue d’un colloque international pluridisciplinaire organisé les 19 et 20 septembre 2019 au Centre Pompidou et au musée d’Orsay, à Paris, en partenariat avec l’association AWARE (Archives of Women Artists, Research and Exhibitions). Intitulé Faire œuvre. La formation et la professionnalisation des artistes femmes aux XIXe et XXe siècles, le colloque entendait dresser un état actuel de la recherche sur l’accession des artistes femmes aux structures d’enseignement, en France et à l’étranger, qu’il s’agisse des ateliers, des académies privées ou des écoles publiques.
Contents
A gendered distribution of disciplines: the steering of women towards the applied arts in the 19th century
- Were Women Trained to become Artists or “Skilled Workers”? Public Tuition and Drawing Schools for Women and Girls in France in the 19th century Renaud d'Enfert
- The Cavé Method: Reproduction and Expression in the Project of a “School for Women” Luciana Lourenço Paes
- The Status of Women at the École Nationale Supérieure des Arts Décoratifs: writing a new narrative Lucile Encrevé
The struggle for equality and co-education in fine arts studies
- Women’s Access to the École nationale des Beaux-Arts de Paris: The Struggles of the Union of Women Painters and Sculptors and of Their Allies Catherine Gonnard
- Equal Opportunities for Women. Supporting Aspiring Female Artists at the Royal Academy of Fine Arts of Brussels in the Late 19th Century Wendy Wiertz
- How to Become a Professional (Woman) Artist in Argentina? The Case of the Escuela Superior de Bellas Artes (1930s-1940s) Georgina G. Gluzman
Mobilities: the importance of international experiences in the training of artists
- Gender, Models, Painters and Artistic Entrepreneurship: The Case of the Académie Vitti in Paris (1889–1914) Maria Antonietta Trasforini
- Swedish Women Sculptors at the Turn of the 20th Century. Backgrounds, Education and Professional Careers Linda Hinners
- Munich or Paris? Polish Women Artists Seeking Education at the turn of the 20th Century Ewa Bobrowska
- Women at the Académie Lhote Fanny Drugeon
Setting precedents: sisterhood and emancipation in artist networks and knowledge sharing
- Pioneering Women: Lessons from Paris and the Making of an Art Scene in the American West Heather Belnap
- Veiled Recognition: Frances Hodgkins’s Subversion of English Art Establishments through Radical Pedagogy Samantha Niederman
- Militant Educational Spaces, Transmission of Artistic Knowledge and Political Awareness: The Klonaris/Thomadaki Super 8 Workshops in the 1980s Ana Bordenave
Singular trajectories
- If Not for France: The Evolving Art Education of Eliza Pratt Greatorex Katherine Manthorne
- Aspiration and Negotiation: Model-Artist Victorine Meurent in Her Time and in the History of Art Yelin Zhao
- Louise Bourgeois’s Artistic Training: Paris-New York Émilie Bouvard
- An artist at work. Conversation between Béatrice Casadesus and Scarlett Reliquet
If Not for France: The Evolving Art Education of Eliza Pratt Greatorex
Katherine Manthorne
Abstract
Eliza Greatorex (née Pratt, 1819-1897) was the most famous female artist in New York during the 1860s and 1870s, painting landscapes, drawing urban architecture in pen and ink and etching en plein air. Her evolution, this paper argues, was dependent on opportunities in France. First she modified her Hudson River painting style with study under Émile Charles Lambinet at Barbizon. Second, to convey New York’s radical urban transformation she looked to the responses of Hippolyte Bayard and Charles Marville to Baron Haussmann’s destruction of Old Paris. Third, etching with Charles Henri Toussaint and Maxime Lalanne made her a leader in the Etching Revival. Her daughters meanwhile enrolled at the Académie Julian and Carolus-Duran’s studio. Greatorex’s career demonstrates how a woman self-fashioned an art curriculum via a mix of private instruction, female networking, and exhibition and sales opportunities found only in late 19th-century Paris.
