Abstract
This book opens with a close examination of the Slade School of Fine Art within the wider social context of Edwardian London, concentrating on the school’s establishment, mission, teaching philosophy, curriculum, and gender-related admission policy, then catalogues the diverse achievements of the female students enrolled. Furthermore, this chapter explores women students’ experiences in the Antiques Room and the Life Room, the academic relationships with their male classmates, and their interaction with the metropolis. Part of the function of this chapter is to establish a solid foundation for the rest of the book and to establish the limitations, opportunities, and expectations of young women artists in the first decade and a half of the twentieth century. This chapter also traces the influence of France principally through the Slade’s drawing method in the Life Room that distinguished it from other schools in London, then highlights and explains the link between the Slade and the Francophile New English Art Club (NEAC). Naturally, gender difference emerges from such an archival study, but so does the understudied question of class difference within the school. This chapter has also conducted a brief examination of some animal caricature portraits of staff and students created by Logic Whiteway. Not only does this show Slade women students’ sense of humor in their artistic practice, but it also dispels the recurrent myth/impression of crying and cowering women students intimidated by the infamous drawing teacher Henry Tonks.
Just as the oysters are enriched by pearls,
So is the Slade dependent on its girls.
—A.A., in “The Slade,” University College Gazette, 30 October, 1901, p. 218
I was standing shyly by the Venus de Milo, sketchbook in hand, when a very tall man [Henry Tonks] came up to me. He asked for my book, glanced through it, and remarked: “So you are going to be a second Burne Jones?” “No,” I replied promptly, “A first Edna Waugh.”
I think it is how we are treated that affects us more than we know—to what is expected of us something within us naturally responds.
—Edna Clarke Hall
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Notes
- 1.
(This sentence was taken from Edna Clarke Hall’s (née Waugh) unpublished memoir Chapter II: The Slade, in which she recalls the conversation with tutor Henry Tonks on her first day at the Slade. Sir Edward Coley Burn-Jones (1883–1893) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. This memoir is currently held at UCL Special Collections (4DiiiC), University College London.)
- 2.
After resigned from the position of the Slade Professor at University College London from 1871 to 1875, Sir Edward Poynter held a number of official posts: principal of the National Art Training School from 1875 to 1881 and director of the National Gallery from 1894 to 1904 (overseeing the opening of the Tate Gallery). He became a Royal Academician in 1876 and served as President of the Royal Academy from 1896 to 1918. For more information on Poynter, please refer to Laughton (1971). Also see Cross (1971).
- 3.
George Moore (1852–1933) was an influential Irish novelist, writer, poet, and critic. Initially, he wanted to be an artist and attended art school in London, then moved to Paris to study at the Académie Julian in the 1870s where he befriended many leading writers and painters of the day, such as Edgar Degas and Edouard Manet. After realizing his slight artistic ability, he turned to literature, and Émile Zola had significant influences on his subsequent career as a naturalist writer. Upon returning to London in the 1880s, Moore turned his attention to writing about art. He contributed regularly to the Bat, Speakers and Saturday Review as an art critic. A selection of these reviews was published in Impressions and Opinions (1891) and Modern Painting (1893). He shared many similar views on art with Walter Sickert and nominated him to succeed his position as art critic for Speakers when he moved to Saturday Review. Moore was among the first to recognize the talents of Dame Ethel Walker, introduced her to French impressionists and even lent her his studio to paint before she joined the New English Art Club (Brown, 1955; Oxford Dictionary of National Biography, 2004; Upstone, 2012; Frazier, 2000).
- 4.
Felix Slade and his elder brother, William, studied law and later held the office of protector of Doctors’ Commons like their father Robert. After his brother’s death, Felix inherited his mother’s property in Yorkshire and his father’s fortune and a house in Walcot Place, Lambeth. Please also refer to Slade Archives 3Biiib, manuscript on Felix Slade by C. Koe Child, Treasurer of Slade appeal fund.
- 5.
The Goodall Art Scholarship was founded in 1873, valued at £20 a year, tenable for three years, instituted by subscribers to the memorial fund for Trevelyan Goodall, who had been a pupil at University College School. The scholarship was awarded to a pupil for the execution of the best figure drawing from the Antique Room. The Melvill Nettleship Prize for Figure Composition was founded in 1897 in memory of Henry Melvill Nettleship, a former student of the Slade, and was awarded annually (£20 a year).
- 6.
Legros invited R. S. Poole to give lectures on medals and the art of making them at University College in 1883 and 1885. Poole offered the students three prizes for medals after his lecture. The winning pieces were shown in a display held within the 1885 International Inventions Exhibition, where all six prizes were taken by women. The Magazine of Art commented: “the Slade School competition medals form a goodly class alone.”
- 7.
Although already engaged to be married when she met Ambrose McEvoy (1878–1928) at the Slade, Mary Spencer Edwards was moved by McEvoy’s gentle and poetic expression. As soon as she arrived home, she wrote to her fiancé to break the engagement.
- 8.
“Ursula Tyrwhitt, who was an ecstatic, bird-like girl, was rather vague. Her father was the vicar of Nazeing in Essex, and she had to fight him for five years before she could come to Slade. Only when she was twenty-three and presumably past hope of marriage did he let her go. As a result, she was somewhat older than her contemporaries. She had officially left the school before Gwen [John] came but continued to be closely associated with it and with Ida” (Chitty, 1987, p. 40).
- 9.
The UCL Records Office holds all the official student and staff records; an appointment is needed to access these records. Additional student applications and related papers originally part of the main archive were housed in the Records Office as well when I visited in April 2015. There are NO student records held in the library or at the school (apart from the “Signing-In books” still held in the Slade office, which run from 1878 to the present day and the Student Records cards, 1910 to present). Years in parentheses indicate the period they studied at the Slade, which are based on the university calendars from 1893 to 1915. The University calendars are now available online at the UCL website.
- 10.
The school was the first government school of design, established in 1837 at Somerset House in London. It later became headquarters when many provincial or branch schools joined. In 1857, the headquarters were moved to South Kensington on a site now occupied by the Victoria and Albert Museum.
- 11.
Tancred Borenius later took Fry’s position, listed as the lecturer on the history of art in the University College, London: Calendar Session 1914–1915 on page 91.
- 12.
For more information on Wyn George and her diary, please refer to Christian (2013). Wyn George was the book author Jessica Christian’s great-aunt. George began her diary her first day in London, October 5, 1896, until June 4, 1897. It thus recorded her first year at the Slade, her friendships with classmates, her communication with faculty, her exploring of London, and etc. From the book, we also know that George’s first day at the Slade was Tuesday, October 6, 1896; she left in the semester of 1898–1899. She went to Paris in the summer of 1899, then re-entered the Slade for a final installment of a few weeks during the second half of the spring term of 1901 (Christian, 2013, pp. 35, 57). For more information on Wyn George, please also refer to George’s scrapbook and Michael Reynold’s unpublished manuscript, and The Slade, the Story of an Art School, 1871–1971 (1974) held at UCL Special Collections.
- 13.
It is not coincident that writer Pat Barker titled her novel about the Slade Life Class (2007). Barker set the story in the turbulent pre-war years, and it was in the life class where more advanced students (both male and female) who took art training seriously and considered art as their future professions gathered. For this research, it was essential to trace back from the artists who dominated the London art scene at the beginning of the twentieth century to their training at the Slade and more specifically to more advanced training in the Life Room in order to examine the continuity and change of their artistic approaches. The life class was far more than a class but the embodiment of the entire Slade training system that set it apart from other art schools. The Life Room would be the ideal venue where dramatic conflicts took place between young students who observed the influences from Paris and their rigorous, more mature and conservative lecturers, between personal choice and social expectation—and the perfect setting to drive a fictional story.
- 14.
Clarke Hall’s younger sister was Rosa Waugh, who also studied at the Slade, from 1892 to 1902, and afterward privately with Gwen John, a close friend of Edna’s. Rosa Waugh started an art studio just for women art students, and Helen Saunders (1885–1963) was among her first students. Her teaching philosophy followed the established Slade pattern: Students progressed from the antique to the life class.
- 15.
Whiteway (1898). “A note-book of Caricature Portraits of staff and students at the Slade School by woman student called Logic Whiteway in 1898, with humorous commentary and a key to the ‘Animals’” (\(5 \raise.5ex\hbox{$\scriptstyle 1$}\kern-.1em/ \kern-.15em\lower.25ex\hbox{$\scriptstyle 2$} \times 3 \raise.5ex\hbox{$\scriptstyle 2$}\kern-.1em/ \kern-.15em\lower.25ex\hbox{$\scriptstyle 5$}\) in.). The portraits include Gwen John (“The Gwengion”), Augustus John (“The Beardgion”), Wilson Steer (“The Draft”), Ida Nettleship (“The Nettlebut”), Henry Tonks (“The Tonks”), Frederick Brown (“The Fredd”). Logic Whiteway, the student who created the caricatures, appears as “The Lo.” On the first page of the notebook, it writes as follows: “THE SLADE ANIMAL LAND. AS SEEN BY THE LO. WITH HELP IN IDEAS FROM THE JEFF AND OTHER FRIENDLY ANIMALS. FEBRUARY and MARCH 1898.”
- 16.
In her memoir, Clarke Hall wrote: “We took rooms in a house high above the sea and overlooking a bay. At night, we could see the far-off lights of Aberystwyth twinkling in the darkness across the water. Ida’s mother came down to see that [we] were all installed in proper lodgings. She then went away but didn’t know that we had a model down from London.”
- 17.
“In this exhibition, Paul Durand-Ruel has brought with him 19 examples of Edward Manet, 55 of Claude Monet, 35 of Degas, 59 of Renoir, 40 of Pissarro, 36 of Sisley, 10 of Cezanne, 13 of Mme. Morisot, and 38 of Bondin.”
- 18.
The concept of the new woman emerged in the 1880s and 1890s, “partly in the context of feminist activism but also in conjunction with bohemian artistic circles and rise of women’s colleges” (Johnson, 2008, p. 2; Roberts, 2002, p. 21). This expression of “New Woman” was first coined by British novelist and journalist Sarah Grand in her article “The New Aspect of the Woman Question,” published in the North American Review in March 1894, and soon spread into public discourse in other European countries. Historian Lucy Bland defined this a term as “a young woman from the upper or middle class concerned to reject many of the conventions of femininity and live and work on free and equal terms with the opposite sex” (Bland, 2002, p. 144). This change of mind for an independent, single and educated woman also requires her physical changes in activity and dress. The bloomers and bicycles were both symbols and real agents of increasing feminine ability to move and to engage with a broader active world (Elliott, 1987, p. 39). However, there was contemporary debates about whether the image of the new women was a real person of an ideal character that only appeared in books by the new women writers (including Sarah Grand, Mona Caird, and George Egerton) and avant-garde plays (most notably the works of Henrik Ibsen and George Bernard Shaw) (Johnson, 2008, p. 6). Studies of the new women include Johnson (2008, pp. 2–6), Roberts (2002), and Elliott (1987).
- 19.
Women’s suffrage is the right of women to vote in elections. In order to create a social and political context of London in the period of question, this research briefly touches upon the British women’s suffrage from the end of the nineteenth century when the focus became more political to the outbreak of the First World War in 1914 when the whole suffrage campaign was suspended in the face of a greater threat to the nation. This movement for women’s right to vote in national elections in the United Kingdom had two wings (the suffragists and the suffragettes) and were dominated by three campaign organizations. The first and largest was the National Union of Women’s Suffrage Societies (NUWSS), consolidated from sixteen local groups in 1897. It was non-party and non-militant (using peaceful tactics) and its magazine was the Common Cause (1909–20). The second was the Women’s Social and Political Union (WSPU), which was born out from the NUWSS and formed by Emmeline Pankhurst in 1903. It was the principle militant society and its magazine was Votes for Women (1907–18), and Suffragette (1912–15). Their members became known as the suffragettes, a name given by newspaper The Daily Mail in 1906. The third was the Women’s Freedom League (WFL), the result of a split within the WSPU in 1907. It also described itself as a militant society although its tactics were non-violent (e.g. picketing, tax resistance), and its magazine was the Vote (1909–33). Suffragist is a more general term for members in suffrage movement. Suffragettes is more associated with the militant activists in WSPS. For more information of British women’s suffrage, please also refer to the following sources: http://www.bbc.co.uk/bitesize/higher/history/britsuff/suffrage/revision/1/. http://womansuffragememorabilia.com/woman-suffrage-memorabilia/suffrage-journals/, Tickner (1988), Mayhall (2000), Brown, H. (2003). The Physical Force Objection to Women’s Suffrage. ‘The Truest Form of Patriotism’: Pacifist Feminism in Britain, 1870–1902. Manchester University Press, Smitley (2009), Liddington (2005), Lloyd (1971).
- 20.
A complete Slade Summer Composition Prize recipient list (1897–1965) was compiled in 1966 by K. Myers and stored as a separate file folder in the UCL Art Museum Collection. The list includes recipients’ full names, the assigned subject/theme of the year, and a short description of each awarded piece. The author accessed this file during her visit to the UCL in May 2015. As the file recorded, the Slade record of Summer Composition prizewinners dated back to 1895. The UCL also has a collection of award-winning pieces. In some years, there were first and second prize or two recipients of first prize.
- 21.
The use of term “fatherliness” implies a generational difference, as well as a gender one, while simultaneously advocating the idea of family hierarchy.
- 22.
The women artists featured in this exhibition were Mary Adshead, Eileen Agar, Anna Airy, Diana Armfield, Joan Ayling, Enid Bagnold, Elinor Bellingham Smith (Eleanor Best), Wendela Boreel, Barbara Carr, Dora Carrington, Katharine Church, Edna Clarke Hall, Ursula Edgcumbe, Gwen Evans, Daphne Fedarb, Mary Fedden, Margaret Fisher Prout, Kate Greenaway, Elsie Henderson, Gwen John, Arnrid Johnstone, Karin Jonzen, Lady Kathleen Kennet (Lady Scott), Eve Kirk, Edith Lawrence, Thérèse Lessore, Marjorie Lilly, Kathleen Mann, Trice Martin, Eileen Mayo, Joan Moore, Mary Porter, Gwen Raverat, Peggy Ryan, Margaret Thomas, Ethel Walker and Nan West.
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Yu, M. (2020). Women Artists at the Slade School of Fine Art in Edwardian London, 1901–1910. In: London’s Women Artists, 1900-1914 . Springer, Singapore. https://doi.org/10.1007/978-981-15-5705-7_2
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