An extensively illustrated and detailed biographical dictionary, providing an invaluable source of information for all those interested in the history of British art and the emergence of female artists.
Trade Information: LPODREF
Available as: Paperback, PDF
Specifications: 191x234mm, 296pp
Published: June 2009
Published: June 2009
The most comprehensive volume of its kind, The Dictionary of British Women Artists offers extensively-researched biographies of some of the most significant female contributors to British art from the 16th onwards.
Each entry provides key biographical information, as well as (where possible) commentary on the artist's studies, lifestyle, travels and family. Entries also detail significant works, exhibitions and membership of societies. Gray's introduction provides a useful context to the biographies, and a comprehensive bibliography highlights works for further study.
Beautifully illustrated with a wide selection of works by the artists featured, this volume will make a valuable contribution to the study of art history. It will also provide readers with significant insight into a long neglected aspect of history – the lives and achievements of women artists.
Sara Gray received her first degree in Art and Design History and English Literature, before undertaking a PhD in 2002 at Manchester University. She is also the author of John Ruskin and the Lakeland Arts Revival 1880–1920. Her research interests include regional art and design.
"The Dictionary of British Women Artists is a valuable contribution to the history of British art and to women's place in it."
Rachel Callow, in Women's History Magazine
"Women artists have a long history of receiving little or no acclaim during their lifetimes, and their work often languishes in the margins, out of sight. Sara Gray's Dictionary of British Women Artists attempts to move some of these artists away from the margins and into the awareness of current students and scholars ... In a brief historiographical discussion of prior studies of women artists, Gray makes a compelling case for the need for this work ... this books succeeds in the process of recovering these artists from the margins ... [and] perhaps this volume will inspire more scholarship to rectify this neglect."
Nina Clements, in Feminist Collections, Vol 32, No 2