Everyone must have the Right to be Equally Bad

This one might be a bit ramble-y, so I apologise in advance.  It is the upshot of a conversation I had with the ever-patient Mr Walker about female artists and whether it is the pinnacle of equality to point out what awful people some of them were. 

Now, this touches on two previous posts - one is on the book Victorians Undone which I felt conflicted about, because it concentrated on Fanny's body and the faults therein. I feel that woman are picked on enough, thanks very much, and the last thing someone like Fanny needed was to have her physical flaws pointed out.  That feels a bit Daily Mail on the whole.  The second post is one of my most notorious as it talks about how much we should balance an artist's words or deeds against their art.  All of the artists I talk about in that post are male, and I don't reveal any great bombshells (unless you hadn't read that book about Eric Gill, in which case I'm very sorry) but it is a subject I return to again and again.  As I type this more Neil Gaiman allegations are coming out, so I won't be watching Coraline any time soon.  

Is there a tipping point when a person's words or deeds should cancel any great art they produce (when the art has no relation to their views/deeds, obviously)? And is that at all connected to their sex? Before I ramble more, let me introduce you to Anna Airy...

Artist Anna Airy (1882-1964) is undoubtedly an incredible artist. She had an astonishing career, was an absolute trailblazer in terms of how women were seen and spoken about in the art world and she was one of the first female war artists. There is this article about her by Alison Thomas which does a far better job than I could in telling her story and there is this piece about her war art, which is fascinating. What really tickled me when I was researching is how her husband, fellow artist Geoffrey Buckingham Pocock, is often referred to.  I rage against 'his wife, also an artist' but in the case of Poor Geoff, he was 'her husband, also an artist.' Come on now, male artists matter too! I found a delightful review of an exhibition in New Zealand of both Anna and Laura Knight's work, where it was noted that both women were married to artists.  However, as the article reported 'In both case, the genius is with the wife, rather than the husband.' Ouch.

The Garden Door (undated) Geoffrey Buckingham Pocock

And very lovely it is too Geoff, don't you worry. This one is by Anna...

An Aircraft Assembly Shop, Hendon (1918) Anna Airy

Yes, I can see what the newspaper meant, unfortunately, but that's the point, Anna was exceptional as an artist. I am in no mood to do a hatchet job on Miss Airy as there is much to admire about how she broke through the barriers to how women artists were regarded in the early twentieth century, however I found something that gave me pause.

Children Blackberrying (1940s) Anna Airy

I started reading what I thought was a fluff piece in the Daily Mirror from January 1921, as Anna had been a judge on the Mirror's beauty contest in 1919, a thought that immediately struck me as hilarious.  Can you imagine that today?  Is Tracey Emin available to judge Miss World? However, I continued reading...

She begins with the following story:

"The Norseman of old had a theory, carried into practice as I've been told, with regard to every child born to them. The father inspected the baby, and if the child were "bright-eyed" it was kept, but if not it was left to die of exposure."

And now time for the swimsuit round! Blimey, that was an interesting opening, but not seeing the red flags, I continued reading...

Mrs Monica Burnard (1916) Anna Airy 

She goes on to explain that the beauty contest was for children and babies, hence the anecdote about bumping off your baby if they aren't pretty enough, but it starts going wrong around this sentance...

"These bonny girls, all of British parents, are Britain at her best, and we may well be proud of them, for their beauty depends, not on languor, not on affectation, nor on artificialities, but on superb health and clean breeding."

When I read that bit out to the teenager in our house, she saw the turn coming from around 'British parents' and it got worse...

"Intermixture of races by marriage may and does sometimes produce a beauty, but as yet we are not, broadly speaking, a much intermixed race. 

Though mixed marriages are, I fear, on the increase, I question whether the children of such unions will retain the clean looking strength, freedom or agility of the well-bred English child..."

She goes on in a similar vein, but you get the gist. This is 1921, by the sound of it Anna hadn't met many people outside her own social circle despite her War Art, and so her comments come off as horrifically ignorant and ridiculous.  Am I surprised that the Daily Mirror merrily gives her a column to be racist in? Not sure, but a century later I'm aware that the newspapers use such euphemisms such as 'urban' and 'spicy' to be racists now, so not much changes. It's also not that I was surprised that artists I like have turned out to be racists because Rossetti was mocked by Whistler for backing the North in the American Civil War (who knew Rossetti would be the least problematic person in any room?)

The Montieth Family (1947) Anna Airy

It's because Anna Airy is a female artist who has the potential to be seen as one of the greatest artists of the twentieth century.  I've been at events where I've been asked, seriously asked, whether women artists aren't included in the history of art because they weren't as good as the men. I need artists like Anna to make it into the discussion to prove that women are equally as good (which is a ridiculous thing to have to prove, yet here we are) so I don't want to be the one who cancels her (as the youngsters say today).  

Hang on though, male artists of note could be truly appalling human beings too - Picasso, Augustus John, Paul Gauguin, Eric Gill, Degas - all terrible people arguably (and unarguably in some cases) but still seen as the best artists.  So is there a point where people can't accept you because of what you do or say?  This is definitely a conversation we have at home due to the author of a once beloved book line causing us to step away from their works. Looking at the list of male artists above, I'm not sure any gallery would have an Eric Gill exhibition these days, but the rest are likely to be London blockbusters without a thought if they were anti-semetic/wife beating/rape-y etc etc. Dear God, what is wrong with people?

Men in a Cafe (c.1930s) Anna Airy

I think my concern is that we don't need another excuse not to include women.  If Picasso is seen as a great artist despite his sins, then why can Anna and her weird baby-racism have her amazing art admired too?  Are we so simplistic that we can seperate the artist from the art? Well yes, and that is partly the fault of people like me who insist on finding the biography of people fascinating in the appreciation of their art. Isn't true equality treating Anna the same as we would treat Picasso? Is it right that we feel comfortable embracing the art of a terrible person?  What if this 1921 column reflects her views then but in time she realised she was an idiot and stopped being a racist? We have images she produced later that included people of colour, so could she have changed her mind.  Does that matter?  Is there room for redemption? 

On theBorderline (1921) Anna Airy

In the end, do we need to have this conversation? After all can't we just see an artist in the round, with warts and all? I think it is definitely easier to tackle this with dead artists, with all their sins revealed and taken in the same stride as their works.  With living artists/writers/actors, their misdeeds are still infinite and we don't know where they will go next so it is preferable to step off the fan-train as early as possible because no-one wants to be wearing the t-shirt when your hero says or does something truly appalling.  In the end, do we put too much trust in our fellow humans, especially those who have the opportunity and platform to say and do awful things.  

So, is true equality our ability to see a flawed artist, no matter their gender and weigh up their misdeeds against their body of work? I wait to see if we can...

The Shock of the Neo

 We all know what Pre-Raphaelite art is, right?

Yes, that's the stuff.  Glad we all agree.

Oh yes, them as well.  Smashing.

Hang on then, what about this?

Or this?

Oh dear, here we go again, and I've talked about things being called Pre-Raphaelite that are technically not (or are they?) before. If I ever get into arguments with people over art, it is normally over what can be called 'Pre-Raphaelite'.  As an upshot, I tend to use the phrase 'Pre-Raphaelite Adjacent' to describe works that have realistic detail/reference Shakespeare, Keats, Tennyson/are about Arthurian stuff etc etc. However, when recently discussing the Pre-Raphaelite status of a certain artist, I pointed out that the newspapers in 1890 called him 'Pre-Raphaelite' so who are we to disagree?

So, who is Pre-Raphaelite, according to the late Victorians? Or were they unexpectedly better at this than we are?

The Morning Leader in 1896 reported on a Pre-Raphaelite exhibition (which was the collection of a Pre-Raphaelite superfan) and gave a very correct definition of 'Pre-Raphaelite' being the work of Millais, Rossetti and Holman Hunt, joined by Thomas Woolner, Hot Fred Stephens, James Collinson and William Michael Rossetti.  These are our Super Seven and in this we all agree.  And also Madox Brown. Rats, here we go...

Work (1852-1865) Ford Madox Brown

Okay, so Madox Brown is a tricky one because he's there doing art alongside the Super Seven. Also, Windus. And Sandys. Hang on, they are stacking up now. We need some sort of tiering system for Pre-Raphaelitism - would we go by date?  If you doing something poetical and detailed in the 1850s, does that give you extra points?

Too Late (1858) William Lindsay Windus

If date becomes a factor, then surely Windus gets more PRP (Pre-Raphaelite Points) than Sandys who hits his stride in the 1860s, but arguably the Pre-Raphaelite works Sandys is best known for are Rosetti-inspired from the 1860s, when arguably he wasn't very Pre-Raphaelite anymore.  The question is then, do you ever stop being Pre-Raphaelite if you are one of the founding brothers?  Is it like being a Dallas Cowboy Cheerleader? Millais's later stuff is not exactly what you would call Pre-Raphaelite, but Holman Hunt hangs in there until the bitter end. When people casually refer to women looking 'Pre-Raphaelite' they normally are referring to a beauty standard set by Rossetti in the 1860s, but is he being Pre-Raphaelite then? Did he redefine Pre-Raph-ness? Lawks...

The Heretic (1906) Frank Craig

When Frank Craig died in 1918, his obituary in the Daily News cited him as 'one of the most eminent of the group of painters who came to be known as the new Pre-Raphaelite school.' So, when did this 'new Pre-Raphaelite school' form? By 1918, from the original Super Seven, all but William Michael Rossetti had died and we were running a bit thin on the immediately adjacent artists like Windus (died 1907), Frederick Sandys (died 1904), Arthur Hughes (died 1915), let alone Burne-Jones and Morris who had both popped off in the 1890s. In 1907, Frank Cadogan Cowper was declared a member of the new Pre-Raphaelite movement (not school on this occasion) with his entertainingly titled How the Devil, disguised as a vagrant Troubadour, having been entertained by some charitable nuns, sang to them a song of love, which is quite frankly ridiculous.

How the Devil etc etc I'm not going through that again (1907) Frank Cadogan Cowper

One thing I am noticing is a lot of red in our new Pre-Raphaelite school/movement, so is that what gives them PRP? To be fair, I did put Noel Laura Nesbit in my Pre-Raphaelite Girl Gang and her painting The True Love is very red indeed, so many be that's the key...

If One Could Have That Little Head of Hers (1900-1909) Eleanor Fortescue Brickdale

 The mighty EFB is undoubtedly New- or Neo-Pre-Raphaelite (she did some very red paintings, but I chose this one) and the Morning Leader in 1901 announced this fact in connection to her exhibition at the Dowdeswells Galleries.  Interestingly, they said she was Pre-Raphaelite despite her work being both pretty and clever, even though 'certainly neither cleverness nor prettiness were characteristic qualities of our English Pre-Raphaelites.' I beg your finest pardon?! Mind you, why preface Pre-Raphaelites with 'English'? That raises a few questions for 1901.  The Morning Leader finish this piece by saying that EFB got her Pre-Raph credentials from this chap...

The Queen of Hearts (1896) John Byam Liston Shaw

Good Lord, I love Byam Shaw and will fight anyone over the fact that he is possibly one of our fair nation's most important artists.  I've written about him and his circle far more than is possibly healthy but in the history of Neo-Pre-Raphaelitism, he is vital and wildly influential. What makes Byam Shaw (and by influential extension, EFB) Pre-Raphaelite? The colours? The subjects? It's hard to put your finger on, but I think the delicacy, the whimsy, the absolutely crystal clear colours have all contributed to what we think of as 'Pre-Raphaelite' today but of course they aren't Pre-Raphaelite, they are Neo-Pre-Raphaelite! This is the problem we have, it isn't understanding lines of influence, it's how we speak about it.  I think I have time for another Byam Shaw...

Boer War (1900-1901) Last Summer Things Were Greener (1901) Byam Shaw

Thank you.  I know I have a problem, I don't care. Onwards!

The Westminster Gazette of 1902 made the bold assertion in its coverage of the Royal Academy's May exhibition that the lack of emeralds and purple in the paintings that year must mean that Neo-Pre-Raphaelitism was over. However, in 1904, it was back reporting on the Neo-Pre-Raphaelitism of Byam Shaw and EFB, so it was the beast that would never die, apparently. Especially as in 1914, this was heralded as the height of Neo-Pre-Raphaelitism...

Costermongers (1914) Eric Kennington

Kennington is not going to be the first person you'd name when listing Pre-Raphaelite artists, but this has a definite echo of Madox Brown's Work and the Pre-Raphaelite obsession with noble working folk, so yes, I agree with the Western Daily Press, he gets to be Pre-Raphaelite. Sorry, Neo-Pre-Raphaelite.

Dinner on the Hotel Lawn (1956-7) Stanley Spencer

Interestingly, in the Western Morning News in 1934, they call Stanley Spencer 'Neo Pre-Raphaelite' because of his painstaking details which are 'sincere and deeply felt.' I love a bit of Spencer and know that David Inshaw, of the Brotherhood of Ruralist (also described as 'Neo Pre-Raphaelites' in the Illustrated London News in 1981) is a great admirer of his work, but of all the things to call Spencer, 'Pre-Raph' isn't the first one that springs to mind. Mind you, look at that figure in red on the left of Dinner on the Hotel Lawn, isn't she almost parodying the 'Pre-Raphaelite bend'? Isn't the whole piece somewhat reminiscent of Millais' Isabella and Lorenzo (1848-9)?

Autumn (1898) Harold Speed

In 1905, the Westminster Gazette called Harold Speed a Neo-Pre-Raphaelite and the possible (although not literal, obviously) grandson of Holman Hunt.  In March of 2024, Vogue called Zendaya's hair 'Pre-Raphaelite' and I think therein lies the rub.  What gets on the nerves of some people is the loss of the preface 'Neo' in our liberal distribution of the adjective 'Pre-Raphaelite'.  I think, for the most part, we can all see why the Neo-Pre-Raphs were linked to the art of Millais, Rossetti and Holman Hunt, even as late as the 1970s but somewhere in the 1980s we possibly dropped the Neo and just started to assert things, people and paintings were 'Pre-Raphaelite' which in turn drove the purists mental.

Modern, not Neo or New...

Now, I'm not an idiot (honest) and I know why we, or rather curators of exhibitions, writers of books, and anyone who wants to sell something, use 'Pre-Raphaelite' rather than 'Neo-Pre-Raphaelite.' Firstly, it's shorter and getting 'Pre-Raphaelite' onto a poster is hard enough (it's a lot of letters) let alone shoving 'Neo' in front of it too. People have a vague (or a very definite) idea of what Pre-Raphaelitism is and it's popular right now - I bet if you asked people the leading proponents of Neo-Pre-Raphaelitism not many would start babbling on about their utter devotion to Byam Shaw.  For most people, 'Neo' is the bloke form the Matrix, not a turn of the century continuation and evolution phase of Pre-Raphaelite art. The popularity of Pre-Raphaelitism is definitely the lead in why people don't want to overtly add anything - people will go to a Pre-Raphaelite exhibition, people will buy a Pre-Raphaelite book (thank you very much), people understand Zendaya's Pre-Raphaelite hair is wavy.  Jonathan Jones knows he hates all of it, it seems cruel to tell him it is actually more than one thing and he might actually have to re-evaluate his ideas because he might already like something that has been deemed in the past to be Neo-Pre-Raphaelite. Bless him.

The New Year (1901) Percy Bulcock

It is necessary that we move forward (I had the urge to add 'brothers and sisters' then) and bravely start adding the Neo or New to Pre-Raphaelitism, if only to stop the eye-rolling and 'well, actually' that happens whenever anyone uses Pre-Raphaelite for anything other than the Super Seven 1848-1856 (Holman Hunt gets to use it for his entire life as he was special). Imagine the fun we will have lobbing Neo-Pre-Raphaelitism into everything and shaking up the Art History Narrative that insists (or at least did when I was at uni in the Nineteen Hundreds) that Pre-Raphaelite art was a cul-de-sac, a no-through-road that British Art never recovered from. We could launch The Shock of the New Pre-Raphaelitism and bring all those wonderful artists together, all of whom languish in that hinterland between Turner and Damien Hurst when British art was, apparently, rubbish. 

In 2005 at Campbell Wilson Fine Art, there was an exhibition called Pre-Raphaelite, Neo Pre-Raphaelite, Post Pre-Raphaelite which surprised me as twenty years later we are still not using the 'Neo' - also I would argue that we will never be Post Pre-Raphaelite as it is now part of us. If we can have a quick meeting and agree on a start date for Neo-Pre-Raph then I think we are good.  How about 1890? Anything after that becomes Neo-Pre-Raphaelite, anything before that (that isn't by the Super Seven) is Pre-Raphaelite Adjacent.  I am flexible on dates as I know the period is complex, but as long as Byam Shaw is involved, I'm happy.

There are so many gorgeous works of art and artists out there from the Edwardian period onwards that have been forgotten.  Let's make 2025 the year we reclaim the New.

Tuesday 24th December - On the Sofa

 Well, here we are and it's the last day of Catvent!  By the time I post this, it will no doubt be Christmas day somewhere in the world (I have my Father Christmas tracking page open so I can watch him visiting everyone) so let's crack on with the final Catvent of the year,,,

Mr Tibbles wishes she'd put some damn clothes on.

When I was selecting paintings for this year, I found lots that were interesting, had great back stories and gave me the chance to research models and artists and make silly comments about cats, which is always a pleasure.  However, for my final painting, I had to choose this one...

On the Sofa (1902) Vittorio Matteo Corcos

Look at how gorgeous she is! The girl isn't bad either and I really hope I can find that colour hair dye because everything is shiny and luxurious and wonderful. I would very much like to spend Christmas Eve in a similar position.  Let's enter the shiny world of Vittorio Matteo Corcos...

Self Portrait (1913)

What a big moustache! I found the lot essay for a gorgeous painting at Christies very illuminating and raises the question we looked at early this month with Edwin Long - how does a very successful artist drop from the public consciousness? Vittorio and his magnificent moustache did some of the most exquisite paintings and was famous not only in his homeland of Italy, but also over in England - in The Bystander in 1910, he is giving his opinion on the extravagances of the Portuguese royal family.  He was a society portrait painter, which, I admit, can give you a shelf-life - when your subjects stop being famous, so do you.  I saw with nervous interest that one of Corcos's subjects was Mussolini, and this isn't Fascist-vent thank you, but as Corcos was Jewish then whole situation is a lot more complicated and I think we can move on.  He seems to have painted all sorts of rich people who were no doubt dodgy (including the extravagant Queen Amelia and her spending problems in Portugal) but his portraits are not why we are here.  We are here for pretty girls, books and idleness!

An Afternoon on the Porch (1895)

These two look extremely idle and I thoroughly approve.  What a gorgeous terrace with the sunshine, greenery and a general feeling of ease.  The couple are actually Corcos's step children, which is unnecessary context but changes the mood of the piece a little, I think. It becomes a comment on the household and not just the couple, if you know what I mean.  Anyway, there is a feeling of peace, intellect and most of all, reading.  The young man has a newspaper and the lass has a stack of books.  Now, about those books...

Dreams (1896)

I definitely know this painting and have used it before on the blog because it is gorgeous! The lighting! The sleeves! The yellow books, again - I think we all know that they are a sign of decadence, of illicit reading material, whether it be The Yellow Book or the yellow-covered books that indicated naughty French novels. Either way, it's a decadent move that leads to this sort of thing...

After the Ball (1899) Ramon Casas

Honestly, that painting represents most of my life goals. This young lady has flaked out after an evening of decadent dancing and the suchlike and is now on her comfy sofa with her book which is definitely yellow. What I like about Casas and Corcos is that women read the books, and in Corcos especially, these women are well dressed and serious looking.  They are taking their debauched literature seriously and have enviable to-be-read piles. The women in Corcos's pictures look back at us as equals, even when they are lounging about in their satin-y boudoirs.  Talking of our pink satin lass, I think this is probably her too...

Girl with a Little Dog (c.1890s)

I might suggest that she is now up the other end of her day bed/sofa-thing and is now playing with a terrier who is also wearing a pink satin ribbon.  This one looks likely too...

Girl with a Little Dog (1890s)

I think that is the same frock again but her boob seems to have popped out a smidge. I love the wall behind with the art nouveau-y design and she seems to have acquired a new shiny sofa. I bet it is hard to sit still on any furniture with that amount of slide-y fabric - you'd be no sooner on than off. I love these silly pink, Fragonard-y frivolities and the one with the little kitten is particularly good as I like the pop of blue from the ribbon on its collar. Just for balance, he also did chaps too...

Portrait of a Man, possibly Cesare Formilli (1890)

Like a lot of artists, Corcos had separate moods for different purposes - he does formal, respectful portraits, he does thoughtful paintings of intelligent women and he does frilly fantasies.  There are cross-overs, obviously - some of the portraits are frilly - but he displays amply that an artist has to eat as well as create world-reflecting great art.

Waiting by the Fountain (1896)

It is nice to finish on such a beautiful note, and you'll be pleased to hear that Corcos died in his 70s after a long, success career.  His work feels reminiscent of Singer Sargent, Manet, fashion photography and all stylish and positive things and I especially love his paintings of those headstrong young women, thinking for themselves and getting out in the world with their books and ideas. This Christmas I will emulate a Corcos girl and stay in on my sofa with my dog and cat (although I'll keep my bits and pieces inside my jumper as it's a bit chilly for that) and my big stack of books and have a jolly nice time. May you all have the same.

Happy Christmas to you all and many thanks for your company over the last 24 days.  May the next few days be peaceful, full of good food, warm blankets and lots of giggles and I'll catch up with you again soon.

Monday 23rd December - Women's Rights - A Meeting

 Oh no! We are down to our penultimate Catvent and for the last two days I seemed to have ended up with two completely different sides of myself.  So, let's start today's post...

Oh my goodness, today is going to be a shouty one, I can feel it coming.  We have lightly touched on the idea of women being 'catlike' and having an affinity with all things feline over the last 22 days, but today we are taking it to an interesting new level...

Women's Rights: A Meeting (1885) William Henry Hamilton Trood

Right, we'll have to take the painting and Mr Trood separately as I have a fair bit to say about both. But I'll start with the painting.  Trood had a reputation for sentimental and comic works around animals, so this is not out of his normal scope, however, it is rather political when compared to his normal fare, such as this - 

Friend or Foe (1891)

and especially this...

A Surprising Result (1887)

In fact, if you peruse Mr Trood's output, it is mainly extremely cute puppies being delightful, which makes the cat picture puzzling in a way. To put it in context, I used another, similar painting in the Narrative Art exhibition I curated in Southampton and Bournemouth a couple of years back - 

The Dogs' Home (1883) Walter Hunt

At first glance, The Dogs' Home is a sad painting about abandoned or lost dogs, with little vignettes of different dogs behaving in different ways, but it is actually a comment on how different classes cope in diversity and society's treatment of the most in need.  The working dog unable to work despairs on the right. The little posh dog who has lost its ribbon is unable to get food for himself and in the middle, the noble hound looks out at us, inviting us to work out how we would manage in such a situation and what we could do to help.  Now let's look at the cats...

We have the central figure, like in the dogs' home, who seems to look out at us to draw us into the scene.  She is wearing her ribbon of office but it is difficult to see what her expression is - is she fed up? Is she angry? She doesn't look happy, that's for sure. What of her companions?

There is a lot going on in this group.  Starting at the back, the back and white cat seems transfixed by the peacock feathers, which also appear in front of the cat rolling round with a crazed look on her face.  The Chairman gets the same after I open the 'Cosmic Catnip' from Pets at Home. That stuff is alarmingly strong. The peacock feather symbolises the vanity and frivolity of women and their easy distraction with pretty things. The pair about to get clawed by the drug-fuelled cat are interesting - as we covered with The Favourite, you don't get ginger girls that often, so is that cat a male supporter of women's rights and apparently just there to pick up women?  Chicks dig Equality, you can't fault his reasoning. The other less likely explanation, which is no less insulting, is that she is a ginger female, and therefore we have rampent cat lesbianism at our women's rights meeting. What can I say? Chicks dig Chicks who dig Equality.

On the left of our Chair-cat of the meeting we have this beautiful white cat and her pink collar.  She is book-ended on the right by this tortoiseshell one...

What on earth are they representing?  Both are fancy cats, so do they represent the upper classes and their involvement in the fight for women's rights? They actually look a bit put off because of the chaos, so maybe they are meant to be sensible, middle class women who will not be returning to this sort of nonsense, thank you.

And behind them is this black cat, in a right state, literally caterwauling. For goodness sake.

This is a strange painting to judge the tone of, as the title might not be the one that the artist intended. It is definitely a painting of a meeting, hence the sign on the back wall 'A MEETING WILL BE HELD' and the roll of papers under the paws of the black and white cat.  Yes, there is a link in society between women and cats, but I'm not convinced that Trood intended this to be a piece of biting anti-women political satire, especially as that doesn't seem to be his forte. In the same year (1885) Trood exhibited Fellow Feeling Makes Us Wondrous Kind at the Royal Academy, showing a cat looking at a proud dog's little puppies in wonder. It would seem an odd move to also do a painting about how ridiculous women are, especially as women's suffrage had slightly stalled at this point, trundling haltingly in and out of political discourse. Trood had some of his work in Punch which was satirical - also in 1885, his painting Puppy Class was used to mock politicians...

An Engraving of Puppy Class

The 'hilarious' Punch cartoon.  Oh, how we laughed.

In Mr Trood's defence, I call upon the Western Daily Press to vindicate him somewhat - when reporting on an exhibition in October 1885, they wrote 

'Among prominent objects are specimens of his work sent in by Mr W H Trood of Taunton, who gives such clever delineation of dog and cat subjects. It was but the other week that Mr Trood's "Puppy Class" afforded scope for the artist of Punch to produce a political adaptation; and now he has issued a companion picture, a row of cats, with expressive countenances, which someone has termed "Women's rights."'

Now, the interesting bit in the above for me is 'someone has termed' implying that it wasn't the original title or intent of the work but then just stuck. Punch were notoriously no friend to the suffragist, so the connection and message seems to have attached itself to something that might only have intended to represent a disorderly meeting with the many different types of people who attend.  Mr Trood might have very little say in it.

William Henry Hamilton Trood is a fascinating man indeed and again, one who there is a misunderstanding about. I saw in various places that he had been born both deaf and non-verbal, with one obituarist allegedly saying how well he had done for someone born deaf and dumb.  Well, actually, that wasn't true, and I can thoroughly recommend Britain's Deaf Heritage by Peter W Jackson for being a tad more accurate.  A bit like Emma Irlam Briggs, Trood had become deaf around 5 years old after an illness but it didn't hold him back.  He had started drawing dogs aged 4, and after some private schooling had embarked on a very successful career, including being presented a silver-gilded and jewelled Damascus sword from the Sultan of Morocco for services rendered. He was a frequent traveller and his work was well known and liked due to its commercial and humorous nature.  Sadly, he died young, at only 39 years old, after a brief illness.

Wait Till The Clouds Roll By (1893)

It seems unfair that a seemingly gentle, humorous image of cats ended up representing a certain type of male distain for little ladies getting ideas about equality.  Some paintings end up with a half dozen names because over time their owners have called them different things, but it is definitely up to us to question the origins, especially if it puts an artist on the wrong side of history.

See you tomorrow for the finale....

Sunday 22nd December - Woman Lying on a Bench

Gosh, it's Sunday!  We only have a couple more after this! I best get on with it...

'Her Mother's Voice'

That one took me a minute and I had to go and google whether 'catgut' actually was made of the insides of cat.  Of course not, that would be weird.  It's sheep and cows. Moving on...

It is a day of rest and so I truly intend to take it easy today. If I am honest, I am absolutely exhausted from the last few days/weeks/months, so a day of just lying around, reading or knitting would actually be splendid. I don't really need to cook as we have left-overs from yesterday, so I just need to type this, then I can have a snooze...

Woman Lying on a Bench (1913) Carl Larsson

Just as a change, I chose this beautiful bright image by Carl Larsson (1853-1919)  as I always turned to the Scandinavians at this time of year - I find they understand the importance of light and revel in presence of it.  This image speaks of an airy, bright afternoon, with nothing better to do than recline in the garden with a book, a dog and a cat. It is not warm as our lass has a few blankets, so maybe it is that crisp, blinding winter sunshine that fills you up and she couldn't resist bathing in it.

Azaleas (1906)

Larsson seems to have had a very unhappy childhood; he wrote in his autobiography Jag (published posthumously in 1931) that his early life was one of poverty, his father's poor life choices and moving from one poor living arrangement to another, where disease was prevalent. He was saved by art - his teacher in the poor school encouraged him to apply to the Royal Swedish Academy of Arts and he never looked back, despite feeling like the outsider in such a prestigious establishment. He managed while studying to earn enough money to support his parents, which is the sort of phrase that makes me groan, but it is to his credit.

Still Life with Fruit and Tankard (1877) Karin Bergöö

While searching for his style, Larsson moved to Paris, but was not compelled by Impressionism slide towards abstraction.  He liked the plein-air style of painting and joined a Scandinavian colony of painters at Grez-sur-Loing, where in 1883 he met Karin Bergöö, a fellow painter. The couple fell in love and married, their daughter Suzanne arriving the year after in 1884.

Karin with Suzanne at Grez Sur-Loing (1885)

In 1888, Karin's father gave the couple a cottage, Lilla Hyttnäs, in Sundborn near his home city of Falun in Sweden.  The couple began to decorate the home in a combination of the National Art Style, William Morris and Arts and Crafts, with simple furniture and light colours until it became one of the most famous homes in Sweden. It was here that Karin could design and create the furniture and clothes that appear in many of her husband's paintings.  In return, Karin and their eight children became Larsson's models in his work, creating a light, bright, slightly insular world.

Hide and Seek (1898)

For all intents and purposes, they are William and Jane Morris (if Jane had come from a wealthy background that took her art seriously and William had been poor), without the issue of Rossetti, and the Larsson's pale sunshiney world is one I really love and would appreciate being part of. I didn't know the clothes and some of the furniture that fill the rooms were designed by Karin, and I think it adds to the ideal of blissful isolation and self-sufficiency. That is undoubtedly Karin on the bench with the dog and cat and I now wonder if she designed that bench. I am currently typing this with my own dog in a similar position as Karin's and I think the tiny black and white kitten and shiny tan of the dog compliment the colours of the pillow and blankets perfectly. Everything fits, is cozy and beautiful and is the perfect domesticity you could imagine.

Carl and Karin Larsson

Carl died the same week as Byam Shaw in 1919, aged only 66 with Karin joining him a decade later.  Their children ensured that their family home was preserved for the nation and that their parents work was honoured.  I was pleased to see that Karin, whilst not as widely known as Carl, is beginning to be spoken in the same breath as her husband and not in a 'his wife, also an artist' manner.  Carl and Karin are again being recognised as the Swedish Art Power Couple they undoubtedly were and there is even a tv mini series about their love, which I bet is gorgeous.

I'm off to recline on a bench so I'll catch you tomorrow for our penultimate Catvent...