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This article examines debates surrounding artistic integrity, cultural hierarchies and the visual arts in Mary Elizabeth Braddon’s  The Lady’s Mile  (1866) and Margaret Oliphant’s  Miss Marjoribanks  (1866). It puts Braddon’s rarely discussed novel in dialogue with  Miss Marjoribanks  to examine their shared anxieties about the conflicting demands of popular markets and artistic integrity.  The Lady’s Mile  reveals that even the idealised male celebrity painter is not immune from the influence of the consumer society of the 1860s, although he can easily shed the family responsibilities that dominate the life of self-sacrificing design instructor Rose Lake in  Miss Marjoribanks . Although these career narratives are strongly gendered, Braddon traces how concerns about moral corruption and audience influence link high art painters and popular women writers; while Oliphant asserts the value of design as a form of genuine artistic self-expression. Ultimately, both women therefore destabilise artistic hierarchies and the notion of disinterested art in their novels, thus asserting the value of their own productions and modes of working.

Visual Arts, Women Writers and the Marketplace in Mary Elizabeth Braddon’s The Lady’s Mile and Margaret Oliphant’s Miss Marjoribanks