Women artists in all ages and countries

by E. F. Ellet

A writer in one of the British reviews observes: “The profession of the painter would seem, in many respects, peculiarly fitted for woman. It demands no sacrifice of maiden modesty nor of matronly reserve; it leads her into no scenes of noisy revelry or unseemly license; it does not force her to stand up to be stared at, commented on, clapped or hissed by a crowded and often unmannered audience, who forget the woman in the artist. It leaves her, during a great portion of her time at least, beneath the protecting shelter of her home, beside her own quiet fireside, in the midst of those who love her and whom she loves. But, on the other hand, to attain high eminence, it demands the entire devotion of a life; it entails a toil and study, severe, continuous, and unbroken.” There is enough in this twofold truth to account both for the number of women artists and the failure of many to reach the distinction they aimed at.

The assiduous cultivation of literature among ladies of the higher class in the eighteenth century is sufficiently attested by productions that yet remain for popular admiration. The names of Joanna Baillie, Mrs. Montague, Clara Reeve, Fanny Burney, Harriet and Sophia Lee, Mrs. Cowley, etc., posterity will not willingly let die; and the improvement in general education owes much to the beneficial influence of women who labored for this end, and strove also to introduce into society a less frivolous tone of manners and a more pervading respect for morality and religion. Mrs. Trimmer, Hannah More, Mrs. Barbauld, are remembered with gratitude as having done their part in the good work; as also Elizabeth Smith, who added to her literary acquirements extraordinary talents and accomplishments both in music and painting.

It was after the introduction of a new manner by artists who had partaken of the inspiration of Carstens—such as Flaxman and Fuseli, near the close of the century—that the greater number of English female artists came into notice. It is necessary to mention only the most prominent. One third, at least, of the entire body in England were distinguished chiefly as amateurs, while in France the contrary was true, very few having been noted among the artists of this period.

First let us pay some attention to the sculptors. In the early part of the century Mrs. Samon modeled figures and historical groups in wax. It is said that the world-renowned Siddons was accustomed to amuse herself occasionally by attempts in sculpture. Lady E. Fitzgerald, Miss Ogle, Mrs. Wilmot, and Miss Andross, were also noted for their attempts in sculpture. But the place of pre-eminence, above all who had appeared down to the later years of the eighteenth century, belongs to Mrs. Damer.

ANNE SEYMOUR DAMER.

A rarer honor it is to a nation to be able to boast of a successful artist of aristocratic origin than of a celebrated statesman. The subject of this sketch was descended from families of the best blood of England. Born in 1748, she was the only child of Field Marshal Henry Seymour Conway (brother to the Marquis of Hertford) and Caroline Campbell, only daughter of John, the fourth Duke of Argyle, and widow of the Earl of Aylesbury and Elgin. “Her birth entitled her to a life of ease and luxury; her beauty exposed her to the assiduities of suitors and the temptations of courts, but it was her pleasure to forget all such advantages, and dedicate the golden hours of her youth to the task of raising a name by working in wet clay, plaster of Paris, stubborn marble, and still more intractable bronze.”[2]

[2] Allan Cunningham.

The foundation of a pure and correct taste was laid in her superior education. She devoted herself early to study, and acquired a knowledge of general literature rare among women; became well acquainted with the history and arts of the nations of antiquity, and with the standard authors of England, France, and Italy. Her cousin, Horace Walpole, was greatly pleased with her enthusiasm, and took delight in directing her studies.

She had long been accustomed to gaze with admiration on the few beautiful pieces of ancient sculpture which she had opportunity of seeing, and she felt in her own soul that inspiration which is almost always the prophecy of success. It is said the bent of her genius was discovered by an adventure with David Hume, the historian. When eighteen or twenty years old, Anne was walking with him one day. They were accosted by an Italian boy who offered for sale some plaster figures and vases. The historian examined his wares, and spent some minutes talking with the little fellow. Miss Conway afterward rallied Mr. Hume in company upon his taste for paltry plaster casts. He replied, with a touch of sarcasm, that the images she had viewed with such contempt had not been made without the aid of both science and genius, adding that a woman, even with all her attainments, could not produce such works. The young lady formed a determination from that moment to convince her monitor of his mistake.

She procured wax and modeling tools, worked in secret, and in a short time finished a head—some say a portrait of the philosopher, which she presented to him in no small triumph.