An art school, which started some years ago in Boston, in private hands,
finally surrendered its casts, lithographs, and so forth, to the
teachers of the Free Art School of the Lowell Institute. The female
classes of this school are always crowded, and are doing a great deal of
good. Artists are accustomed to say very disparaging things of the
school at the Cooper Institute; but I visited it in December, 1866, and
found a very great improvement within a few years. Under Dr. Rimmer, a
most admirable lecturer on anatomy, there has been an infusion of new
life. The drawings from casts looked better than I have ever seen them.
They have a good master in color, and the drawing and engraving on wood
by the pupils find a ready market. Two of them, Miss Roundtree and Miss
Curtis, are said to have a high reputation. I was delighted to find a
large class coloring photographs; for heretofore it has been almost
impossible for women to receive decent instruction in this art. The
classes are all full; and three times the number of pupils might be
received, if there were more light in the large rooms. It is to be hoped
Mr. Cooper may some time divide them, and put in gas.
I have taken advantage of the residence in this country of a well-known
member of the Royal Academy, Mrs. Elizabeth Murray, to ascertain what
circumstances led to the formation of the Society of Female Artists, in
London. To Mrs. Grote, the wife of the historian, and Mrs. Murray
herself, this society owed its existence, somewhere in the winter of
1854 and 1855. There is no objection to it, so far as I know, except one
apparent on its catalogues, the present preponderance of distinguished
amateur artists on the Board of Direction. I insert here Mrs. Murray's
letter in reply to my inquiries. The best artists, such as Rosa Bonheur
and Mrs. Murray herself, exhibit with this society.
MY DEAR MRS. DALL,--On my return to England, after an absence of
many years, I found that women labored under very disheartening
conditions; their professional occupations consisting chiefly of
teaching, music and singing, literature and the fine arts. In the
latter department, they came more under my own personal
observation; and I found, that, although they were countenanced by
men individually, collectively they were persecuted by men, seldom
being permitted membership with any public body, or, when admitted,
were not allowed the full privileges accorded to men.
For instance: At the Royal Academy of London, women are not
admitted at all to membership. On the walls of that exhibition may
be seen the works of women, which rank among the best; but here
their privilege ends. They assist in bringing their quota of the
entrance fees, the main source of income of the academy, while they
are debarred from all privileges and emoluments.
The two water-color societies profess to admit women as members,
which they do to a very limited extent; but even here they are
subject to the same restrictions. Under these circumstances, the
project occurred to me of founding a separate and independent
society, which should include only the works of female artists, in
order to give to those excluded from other societies, opportunities
of asserting their own powers.
The first step was to get up an exhibition to excite public sympathy
in favor of the scheme. This was a most difficult undertaking, as
opposition was met with, not only from men, but from the very women
whose interests were at stake; those who were strong in the
profession fearing to lose caste, and the weaker ones being afraid
to act independently.
After much perseverance and explanation, several large-minded
persons of the more moneyed and influential ranks in society came
forward, and assisted, by their cordial co-operation, in
establishing a temporary committee. Money was freely contributed;
and the society had a fair start, opening to the public a very
creditable exhibition of the works of female artists.
Finding that, for the future, I must necessarily be absent from
England, I retired from the Committee of Direction.
The society has continued in a more or less prosperous condition up
to the present time, although my plan of establishing an adequate
school of art has not been carried out. Much private good has been
the result; and I think the class of women for whom the society was
founded, have been raised in position.
Believe me, dear madam,
Very truly yours,
(Signed) ELIZABETH MURRAY.
13, Pemberton Square, Dec. 22, 1866.
In Paris, Rosa Bonheur is now the directress, under the government, of
the École Impériale de Dessein, established exclusively for young
women.