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OverviewFull Product DetailsAuthor: Miranda Garrett (Central Saint Martins, University of the Arts London, UK) , Zoë ThomasPublisher: Bloomsbury Publishing PLC Imprint: Bloomsbury Visual Arts Dimensions: Width: 16.20cm , Height: 2.00cm , Length: 23.60cm Weight: 0.680kg ISBN: 9781350011861ISBN 10: 135001186 Pages: 320 Publication Date: 20 September 2018 Audience: College/higher education , Tertiary & Higher Education Format: Hardback Publisher's Status: Active Availability: Manufactured on demand ![]() We will order this item for you from a manufactured on demand supplier. Table of ContentsList of Illustrations Acknowledgements Foreword by Jane Beckett and Deborah Cherry Introduction by Miranda Garrett and Zoë Thomas Part One: Institutional politics Chapter One: Zoë Thomas, ‘I loathe the thought of suffrage sex wars being brought into it’: Institutional conservatism in early twentieth-century women's art organizations Chapter Two: Liz Arthur, The artistic, social and suffrage networks of Glasgow School of Art's women artists and designers Chapter Three: Tara Morton, ‘An Arts and Crafts society, working for the enfranchisement of women’: Unpicking the political threads of the Suffrage Atelier, 1909–1914 Part Two: Enterprise and Marketing Chapter Four: Miranda Garrett, Window smashing and window draping: Suffrage and interior design Chapter Five: Elizabeth Crawford, ‘Our readers are careful buyers’: Creating goods for the suffrage market Chapter Six: Kenneth Florey, English suffrage badges and the marketing of the campaign Part Three: Paintings on display Chapter Seven: Rosie Broadley, Painting suffragettes: Portraits and the militant movement Chapter Eight: Krista Cowman, Suffrage attacks on art, 1913–1914 Part Four: Representing suffrage Chapter Nine: Joseph McBrinn, The spectacle of masculinity: Men and the visual culture of the suffrage campaign Chapter Ten: Janice Helland, An Irish harp and sleeping beauty: The politics of suffrage in the textile art of Una Taylor and Ann Macbeth Chapter Eleven: Chloe Ward, Images of empathy: Representations of force feeding in Votes for WomenReviewsA fascinating collection of engaging and informative essays that extend our knowledge about the centrality of the arts to the women's suffrage movement. * June Purvis, Emerita Professor of Women's and Gender History at the University of Portsmouth, UK * A fascinating collection of engaging and informative essays that extend our knowledge about the centrality of the arts to the women's suffrage movement. * June Purvis, Emerita Professor of Women's and Gender History at the University of Portsmouth, UK * This collection transforms our understanding of artistic contributions to the women's suffrage campaign by detailing the experiences of artists, consumers, campaigners and propagandists. A genuinely pioneering work, it illuminates how women balanced their professional lives as artists with their feminist activism, as well as bringing to life the variety of visual culture designed and made during this period across Britain and Ireland. This innovative and timely collection should find a wide and appreciative audience. * Senia Paseta, Professor of Modern History at St Hugh's College, University of Oxford, UK * This insightful edited collection extends and enhances our understanding of the relationships between artistic endeavour, commercial enterprise and political activism ... An invaluable contribution to understandings of visual and material culture and art and business history, as well as to suffrage and women's studies. * History Today * A fascinating collection of engaging and informative essays that extend our knowledge about the centrality of the arts to the women's suffrage movement. * June Purvis, Emerita Professor of Women's and Gender History at the University of Portsmouth, UK * This collection transforms our understanding of artistic contributions to the women's suffrage campaign by detailing the experiences of artists, consumers, campaigners and propagandists. A genuinely pioneering work, it illuminates how women balanced their professional lives as artists with their feminist activism, as well as bringing to life the variety of visual culture designed and made during this period across Britain and Ireland. This innovative and timely collection should find a wide and appreciative audience. * Senia Paseta, Professor of Modern History at St Hugh's College, University of Oxford, UK * Author InformationMiranda Garrett is based at Central Saint Martins, University of the Arts London. In addition, she is a freelance museum professional and has previously worked at the Society of Antiquaries of London, Historic Royal Palaces and Leighton House Museum, all in the UK. Zoë Thomas is Lecturer in Nineteenth-Century Britain and the Wider World at the University of Birmingham, UK. Tab Content 6Author Website:Countries AvailableAll regions |