Baillie, Joanna. The Collected Letters of Joanna Baillie. Editor Slagle, Judith Bailey, Fairleigh Dickinson University Press, 1999, 2 vols.
1: 511
Connections Sort descending | Author name | Excerpt |
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Occupation | Rosemary Sutcliff | She began to work as a miniature painter, following advice from her parents and the headmaster of Bideford Art School
(who allowed her to use an empty room there as her studio) that she would... |
Occupation | Emmuska Baroness Orczy | She had suddenly conceived the ambition of becoming an artist (the only profession open to her, as a girl of good family) when she heard that this was the choice of the cousin with whom... |
Occupation | Kate Greenaway | By 1873, KG
began receiving offers to illustrate popular books and magazines; she left school to pursue a career as an illustrator, while hoping to become a published author. Her pictures for greetings cards for... |
Occupation | Anne Carson | |
Reception | Joanna Baillie | Charles Landseer
(brother of Sir Edwin Landseer
) exhibited at the Royal Academy
a painting from JB
's De Monfort; he had already painted Samuel Richardson
's Clarissa. Baillie, Joanna. The Collected Letters of Joanna Baillie. Editor Slagle, Judith Bailey, Fairleigh Dickinson University Press, 1999, 2 vols. 1: 511 |
Residence | Elizabeth Strutt | |
Textual Features | Catharine Amy Dawson Scott | The Headland was strongly influenced by the writing of Dorothy Richardson
, whom Dawson Scott had met in Cornwall during the first world war. Its story takes three chapters for three cataclysmic days. The protagonist... |
Textual Features | Ella Hepworth Dixon | EHD
's heroine, Mary Erle, struggles to negotiate contemporary notions of femininity, marriage, and motherhood with her own desire to live independently and to pursue her own profession. After her father's death, she faces the... |
Textual Production | Anna Mary Howitt | AMH
exhibited for the only time at the Royal Academy
, with a picture entitled The Castaway, which depicts a fallen woman or prostitute. McMaster, Juliet. That Mighty Art of Black-and-White. Linley Sambourne, Punch, and the Royal Academy. Ad Hoc Press, 2009. 3 Graves, Algernon. The Royal Academy of Art. Henry Graves and George Bell, 1906, 8 vols. |
Textual Production | Anne Damer | AD
began exhibiting her sculpture at the annual Royal Academy
show in London; she was a regular contributor to this event until 1818. Bakewell, Susan. “A Muse on the Move: The Hon. Anne Seymour Damer, from England to Italy (via France, Germany, Spain, and Portugal), 1762-1799”. American Society for Eighteenth-Century Studies (ASECS) Conference, Providence, RI, 1993. |
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