Our books, dear Book Browser, are a comfort, a presence, a diary of our lives. What more can we say? (Carol Shields, Swann)
Mary Cassat, Modern Women (mural) for Women’s Building
Mary Cassatt, detail of mural as a painting
Dear friends and readers,
Some may remember that I reported on a lecture and book I learned about on the Women’s Building at the Chicago World’s Fair in 1892-93 where the stupendous aim was to gather a copy of every book published by a woman since 1492, and while they came short of that goal, they came as close as anyone could in 1892-93. I wrote a blog that got many hits about the lecture and book, Right Here I see My Own Books: “I did not think there were so many books in the world written by women … ”
In this year’s issue (it comes out once a year) of the Woman’s Art journal, there is an essay on the pathetically little art that has survived from this heroic endeavor, complete with a few photos of the building before it was torn down.
Women’s Building, Northern Pavilion
Women’s Building, Reading Room (Hall of Honor)
The crime — or tragedy – is how all was destroyed and dispersed again — by plan! The article is by an independent scholar, Charlote Garfinkle, “Progress Illuminated: Two Stained Glass Windows from the 1893 Woman’s Building, Woman’s Art Journal, Spring summer 2012. The survivors are two murals and a church-like stained glass window. I’ve put these and the photos of this exhibit to which thousands came in an album for us. You see above the Hall of Honor where you could read some of the women’s books as well as one of the murals: Mary Cassatt’s Modern Women.
As the two presenters of the lecture and writers of the book, “Right Here I see My Own Books“, Sarah Wadsworth and Wayen Wiegland, did say the art of this place was limited by the mainstream range of the types of women who ran the clubs which engineered this feat and it may seem a bit stodgy to look at Massachusetts as Mother hovering over the (as yet) coming woman of liberty, but the ideals were all we would want today (and rarely have). Mary Cassett’s mural has women working in a garden like another mural I’ve seen by her, and Mary MacMonnie’s Primitive Women remind me of Puvis de Chavannes (everyone dressed in pseudo-Greek like dresses):
The title of Elizabeth Parsons, Edith Blake Brown and Ethel Isadore Brown’s stained glass contribution, Massachusetts Mothering the Coming Woman of Liberty, Progress and Light is embarrassing, and the imagery highly traditional:
Garfinkle thinks Mary Crease Sears’s Seal of Boston has much private imagery:
Here is a final surviving photo:
The East Facade
The Woman’s Art Journal is itself a marvelous periodical: printed on art paper, it’s just filled with images. It has several long essays, and 23 pages of reviews of a couple of columns each. Expect more from me taken from this periodical from time to time.
For example (one more article): A long essay on the once popular caricatures by Minna Citrone, Jennifer Strebe’s “Minna Citron’s Feminanities: her commentary on the culture of vanity.”
Citron, Hope Springs Eternal/Bargain Basement (1930s)
Citron’s art was social realism intended to critique the present political and social order, especially the workings of unameliorated capitalism. Here’s a cornucopia of her art; and here some of her fellow women print-makers.
She also worked in traditional tropes. Her self-image of the artist makes herself out to be a powerful woman, but not quite no vanities (look at the pretty shoes and improbably fancy dress with the scarf), living in an apartment in the city, where she is not at all cut off from its realities …
Ellen
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