Heatherley's Art School, circa 1900

Oil on canvas

DESCRIPTION

Provenance:
Anissa Helou collection; Private collection


Exhibitited: The Edwardian Era, Barbican Art Gallery, (November 87-February 88), no 56.

Literature: The Edwardian Era, Barbican Art Gallery, (November 87-February 88), p 40.

Llewellyn, Sacha, and Paul Liss. Portrait of an Artist. Liss Llewellyn, 2021, p.12.

Heatherley’s, founded in 1845, is one of the oldest independent art schools in London and was the first to admit women to the life room on equal terms with men. In Joshua’s highly observed work she depicts the school’s large collection of historical dress, ceramics and armour
which formed a costume studio for the use of students. One of the two students depicted – both wearing matching painting smocks in hues of blue – is likely to be a self-portrait.

Heatherley’s, as it is affectionately known, is one of the oldest

independent art schools in London and the first to admit women to the

life room on equal terms with men. Women artists who attended the

school include Emily Mary Osborn, Kate Greenway and Laura Herford –

the first woman to be admitted to the Royal Academy Schools in 1860.

In Nellie Joshua’s highly observed work she depicts the school’s

large collection of historical dress, ceramics and armour which formed

a costume studio for the use of students. The painting seems to relate

to a contemporary photograph in Heatherley’s archive which shows the

same view of the costume studio and two seated women students (see

biographical entry for Joshua). The students who are wearing matching

painting smocks in hues of blue – perhaps one is the artist herself –

appear to be looking at a sketchbook.

Samuel Butler’s work Mr Heatherley’s Holiday: An Incident in Studio

Life (1874, Tate) depicts another view of the school’s costume studio.

In a letter to OTJ Alpers (17 February 1902), Butler wrote: “When I

was studying painting in my kind old friend Mr. Heatherley’s studio, I

remember hearing a student ask how long a man might hope to go on

improving. Mr Heatherley said: As long as he is not satisfied with his

own work’.‚Äù

Commentary by Alice Strickland, curator for the National Trust in London and the South East. Her research interests include British women artists, with a particular focus on their education and exhibiting opportunities. She is an active member of the Tate’s British Women Artists 1750‚Äì1950 Network.

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