Cover; Table of Contents; Acknowledgments ; Preface ; Introduction ; One. Women Artists' Networks at the South Kensington, Royal Academy and Slade Schools, 1860-1910; Two. "The golden spectacles": Reading Kate Greenaway through Her Mentors; Three. "On the line" at the Royal Academy: Elizabeth Butler and Motion; Four. The Iconography of "Happy England": Helen Allingham's Genre Paintings; Five. Galatea Reversed: Princess Louise and Nineteenth-Century Women Sculptors
Six. "The spirit which animated the workers": Evelyn De Morgan's Aesthetic MannerismSeven. "[Un]winding the Skein": Henrietta Rae and the Undraped Nude; Appendix: Artists and Schools ; Chapter Notes ; Bibliography
Summary
"When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists"-- Provided by publisher
