Fifty Works by Fifty British Women Artists 1900 - 1950

Ever since Linda Nochlin asked in 1971, Why have there been no great women artists? art history has been probing the female gaze. Through scholarship and exhibitions, readings have been put in place to counter prevailing assumptions that artistic creativity is primarily a masculine affair. 50/50 functions as a corrective to the exclusion of women from the ëmasterí narratives of art. It introduces fifty artworks by known and lesser-known women outstanding works that speak out.

Fifty commentaries by fifty different writers bring out each artworkís unique story ñ sometimes from an objective art historical perspective and sometimes from an entirely personal point of view ñ thereby creating a rich and colourful diorama. This exhibition does not, however, attempt to present a survey or to address all the arguments around the history of women and art. Anthologies are of necessity incomplete, and many remarkable imaginations are not here represented.

Women artists have been set apart from male artists not only to their own disadvantage but also to the detriment of British art. While there were some improvements for women to access an artistic career in the twentieth century in terms of patronage, economics and critical attention ñ all the things that confer professional status ñ women had the least of everything. By showcasing just a few of the remarkable works produced, this exhibition draws attention to the fact that a vision of British twentieth century art closer to a 50/50 balance would not only provide a truer account, but also a more vivid and meaningful narrative.

Works Featured in this catalogue

Edge of Abruzzi; Boat with three people on a lake, 1924-30

Knights, Winifred

The Chapel, 1928

Gibbs, Evelyn

Self Portrait, 1926

Donovan, Amy Gladys

Heatherley’s Art School, circa 1900
The Reaper (BPL 221), 1933

Leighton, Clare

The Resort, 1950

Jones, Barbara

The Artist’s Sister, 1919

Klinghoffer, Clara

The China Cupboard, 1910

Wheatley, Edith Grace

Men Stooking and Girls Learning to Stook. 1940

Dunbar, Evelyn

Semi-detached Villas, 1945

Garwood-Ravilious, Tirzah

Self Portrait, 1911

Granger-Taylor, Edith

Black Gloves, c.1930

Dobree, Valentine

Unique presentation portfolio of fifteen lithographs, ‘With the VAD Convoys in France, Flanders, Italy’,

Mudie-Cooke, Olive

Prudence on Pegasus, 1937-38

Dodd, Phyllis

A Royal Navy Mine Sweeper in Dry Dock, circa 1940

Heath, Isobel Atterbury

L’Animal, 1929

Vezelay, Paule

Portrait of Gilbert Spencer, circa 1919

Carline, Hilda

Scene from the Book of Job, circa 1935

Blair, Helen

The Still Room, 1928

Burleigh, Averil Mary

Penny for the Guythe thought that all war is caused by the faceless money men of the City, 1940

Hynes, Gladys

A Faun, 1906

Wallace Dunlop, Marion

Reigate and its Environments, late 1930’s

Duncan, Margaret

Portrait of Marjorie Gertler, 1931

Adshead, Mary

William Nicholson at Work, 1918

Nicholson, Nancy

Medusa Grown Old, 1947

Adnams, Marion

The Window, circa 1910

Davison, Gladys

Hieratic Head, circa 1940

Richards, Frances

White, Black, Yellow and Blue, 1954

Moss, Marlow

Work Artists record of mural designed for the Arts and Crafts exhibition, Royal Academy, 1916

Zinkeisen, Doris

The Iris Pool, 1947

Bidder, Joyce

Madonna of the Adoring Angels, 1929

Borne, Daisy Theresa

Untitled Abstract, 1936

Dismorr, Jessica

Eggs on a Table, Tidmarsh Mill, circa 1924

Carrington, Dora

Coster with Dogs, circa 1925

Green, Madeline

Country Studio, 1944

Potter, Mary