Wikipedia

Woman's Art Club of New York

The Woman's Art Club of New York was founded in New York City in 1889 and provided a means for social interaction and marketing of women's works of art. The club accepted members from the United States and abroad. In 1913, the group changed its name to the National Association of Women Painters and Sculptors. The current name for the group is the National Association of Women Artists, which was adopted in 1941.

History

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Woman's Art Club of New York Exhibition Catalogue of 1893
 
Mary Cassatt, Maternal Caress, 1891, dry point etching. Mary Cassatt presented "a set of those colored dry-point etchings of a pronounced Japanese kind in which she indulges and which look so much like colored lithographs..." of women and children to the 1892 exhibition.[1]

The club was founded by the artists Anita C. Ashley, Adele Frances Bedell, Elizabeth S. Cheever, Edith Mitchill Prellwitz, and Grace Fitz-Randolph in Fritz-Randolph's studio on Washington Square in New York on January 31, 1889.[2] The purpose was for "social intercourse among art lovers, for exhibition and to further art interests."[3] More specifically, it aimed to provide a way in which women's works of art could be marketed that were otherwise limited to women at the time.[1]

The group held annual art exhibitions in which members could submit one art work for the exhibition. Any additional works were reviewed by the selection jury. Its members included non-exhibiting and exhibiting members.[3] The Woman's Art Club accepted members and exhibition contributions from women in the United States and abroad. For instance, Mary Cassatt, who lived in Paris, exhibited her works.[1]

In 1892 there were about 300 works of art submitted, including watercolors, oils paintings, etchings, pastels and crayons.[1]

Executive Committee members were elected at its November annual meeting.[3] It was located at 9-Tenth Street.[1]

In 1913, its name was changed to the National Association of Women Painters and Sculptors.[4] It adopted the name National Association of Women Artists in 1941.[5]

Members

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Some of its members were:

See also

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Other turn of the century New York art organizations that exhibited women's work

References

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  1. ^ a b c d e f "The Woman's Art Club" (PDF). The New York Times. February 26, 1892. Retrieved February 28, 2012.
  2. ^ "Liana Moonie". National Association of Women Artists. Retrieved 13 July 2018.
  3. ^ a b c d Club Women of New York. Mail and Express Company. 1906. p. 97.
  4. ^ American Art Directory. R.R. Bowker. 1918. p. 202. ISBN 9780835212502.
  5. ^ "History". NAWA. Retrieved 13 August 2012.
  6. ^ American Art Directory. R.R. Bowker. 1905. p. 230. ISBN 9780835212502.
  7. ^ Rochester Art Club. Biographies of Founders. Rochester Art Club. Retrieved February 7, 2014.
  8. ^ John William Leonard; William Frederick Mohr; Frank R. Holmes. Who's who in New York City and State. L.R. Hamersly Company; 1907. p. 329
  9. ^ John Howard Brown. Lamb's Biographical Dictionary of the United States: Chubb-Erich. James H. Lamb Company; 1900. p. 217.
  10. ^ "Woman's Art Club, Eighteenth Annual Exhibition in Manhattan Shows Marked Individuality and Freshness of View". Brooklyn Daily Eagle. Brooklyn, New York. 1910-05-01. p. 8.
  11. ^ Who's Who in Illinois. Chicago: Larkin, Roosevelt & Larkin, Ltd. 1947. p. 390.
  12. ^ Neal, Christine Crafts (Spring–Summer 2002). "Claude Raguet Hirst: Her [Still] Life Story". Woman's Art Journal. 23 (1): 11–16. doi:10.2307/1358962. JSTOR 1358962.
  13. ^ City Art Museum of St. Louis (1914). Special Exhibition Catalogue. p. 53.
  14. ^ George Washington Cable (1896). The Symposium: A Monthly Literary Magazine. J.W. Cable. p. 97.
  15. ^ American Art Annual. MacMillan Company. 1903. p. 373.
  16. ^ "Arts at Home and Abroad - The California Coast". The New York Times. February 1, 1914. p. M-15. Retrieved 2020-07-08.
  17. ^ Cannon, Jennie Vennerström; Edwards, Robert W. (2012). Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies (PDF). Vol. 1. Oakland, CA: East Bay Heritage Project. pp. 665–666.
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