Acknowledgements

Garb, Tamar

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Acknowledgements

Tamar Garb

Description: Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth-Century...

Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth-Century Paris

~LIKE ALL DISSERTATIONS that have been transformed into books, this project has been long in the making. It was begun ten years ago, during which time I have accrued many debts and drawn widely on the support and expertise of family, friends, colleagues and teachers. My involvement with this research project has paralleled my involvement with the...

Author

Tamar Garb

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-22355

Acknowledgements

LIKE ALL DISSERTATIONS that have been transformed into books, this project has been long in the making. It was begun ten years ago, during which time I have accrued many debts and drawn widely on the support and expertise of family, friends, colleagues and teachers. My involvement with this research project has paralleled my involvement with the women’s movement, and it is to the strength and vigour of thought that I have found in that arena that the book owes its major debt. But there are more specific debts which I would like to acknowledge. My thanks are due to John House and Griselda Pollock for their willingness to supervise the project as a dissertation, and for the comments and advice which they gave me during the course of its progress. The work of the late Nicholas Green provided a model for me at a very crucial stage in the development of the project. Lisa Tickner and Helen Weston both read the manuscript in its entirety and gave me invaluable feedback and encouragement. Linda Nochlin has been both a critical reader and invaluable friend during the time that I have worked on this project. Her professional judgement, intelligence and warmth have sustained me through many rough patches. I shared, at different times, the joys and sorrows of the Paris archives with Neil MacWilliam, Adrian Rifkin, Katy Scott, Abigail Solomon-Godeau and Martha Ward, all of whom showed me their own path through its sometimes terrifying complexities. Research summers in Paris would not have been possible without the generous hospitality of the Couder family, whose house in the 13th arrondissement was the true site of production for much of the thinking that went into this book, and for the socialising that was one of its more pleasant by-products. My task was often made easier by the help of long-suffering librarians who struggled to maintain their equilibrium in the stifling summer heat. I am particularly grateful to librarians at the Bibliothèque Nationale, Archives Nationales, Bibliothèque Historique de la Ville de Paris, Archives de la Préfecture de Police, Bibliothèque Marguerite Durand and Bibliothèque Jacques Doucet.

At home in London, Caroline Arscott, Briony Fer, Tag Gronberg, Andrew Hemingway, Alex Potts and David Solkin were often there when I needed support, encouragement and lengthy phone conversations. Kathleen Adler has been a willing listener and critical reader from the beginning of the project, and has offered sound advice and much support throughout. Gillian Malpass has been a model editor; patient, astute and, where necessary, indulgent. Miranda Harrison has painstakingly copyedited the manuscript. Moira Benigson, Thelma Koorland, Vivienne Koorland and Myra Stern have listened to more moaning and complaining than any friends should have been asked to bear and have not, as yet, deserted me.

My family, as always, has given me the strength and wherewithal to complete this book. My parents, Ivor and Cynthia Garb, have helped me in more ways than they can imagine and without them none of this would have been possible. My husband, Rasaad Jamie, has shared the entire project with me, listening tirelessly to uncompleted drafts, commenting, cajoling and criticising as the occasion demanded. My son, Gabriel Jamie, was born at the crucial stage of transition from dissertation to book, and his arrival both delayed its completion and initiated me into a creative but anxious encounter with one of the central conflicts of womanhood. I would not have done without it for anything in the world. But it is to my grandparents, Anne and Jack Bloch, that I dedicate this book, for their fortitude, their strength, and their love.

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BOOKSisters of the Brush: Women’s Artistic Culture in Late Nineteenth-Century Paris

Tamar Garb

https://doi.org/10.37862/aaeportal.00303

Stable URL: https://aaeportal.com/?id=-22353

The Union of Women Painters and Sculptors was founded in Paris in 1881 to represent the interests of women artists and to facilitate the exhibition of their work. This lively and informative book traces the history of the first fifteen years of the organization and places it in the contexts of the Paris art world and the development of feminism in the late nineteenth century.

Tamar Garb explores how the Union campaigned to have women artists written about in the press and admitted to the Salon jury and into the prestigious Ecole des Beaux-Arts and describes how the organization's leaders took their campaigns into the French parliament itself. Although the women of the Union were often quite conservative politically, socially, and stylistically, says Garb, they believed that women had a special gift that would enhance France's cultural reputation and maintain the uplifting moral-cultural position that seemed in jeopardy at the turn of the century. Focusing on the developments that made the prominence of the organization possible, Garb discusses the growth of the women's movement, educational reforms, institutional changes in the art world, and critical debates and contemporary scientific thought. She examines contemporary perceptions of both art and femininity, showing how the understanding of one affected the image of the other.

This book reverses conventional accounts of late nineteenth-century French art, offering a new picture of the Paris art world from the point of view of a group of women who were marginalized by its dominant institutions.

*This eBook is available exclusively on the A&AePortal.*

Author

Tamar Garb

PublisherYale University Press

Print publication date April 1994 (in print)

Print ISBN 9780300059038

EISBN 9780300269161

Illustrations 62

Print Status in print

Publisher (out of print)

WorldCat

Google Books

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