English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This dissertation investigates the careers of a number of women, all born or residing in Canada, who were active as professional artists/entrepreneurs, painters, sculptors, illustrators and craft artists, both in Canada and abroad, between 1880 and 1914. The professional lives of many of the artists in the study group exemplified a new approach for women to the independent and active organization and promotion of their own careers. Implementing the theoretical writing of feminist art historians such as Griselda Pollock, this study demonstrates how the artists of the study group resisted gendered restrictions in art practice, including the gendering of criticism, subject matter rules, and other professional barriers. In their aspirations to lead self-determined, professional lives as independent single women, artists such as Laura Muntz, Sydney Strickland Tully, Harriet Ford, Elizabeth McGillivray Knowles, and Florence Carlyle were champions of a new ideal for women's working and private lives. The characteristics of their lives were those of the New Woman. During their lifetimes they contributed to a new model of the artistic professional in Canada, and in addition were modern role models for all Canadian women aspiring to a career. This study initiates a comparative analysis of the professional art practices of the study group artists. It examines how the artists of the study group reacted to the challenges and opportunities of the time, to train, to establish a professional practice, run a studio, decide on what to produce and how to market the results to the public. I begin by charting the areas of education and the climate of professionalism. Subsequent chapters focus on identity, political engagement, and marriage and partnership choices. The second half of the thesis focuses on the studio, art production and exhibiting strategies, dealers and

A new matrix of the arts : a history of the professionalization of Canadian women artists, 1880-1914