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Several Camden Town paintings show women confidently walking through the city or using public transport. Meaghan Clarke explores the opportunities for increased independence for women at this time, showing how the s concept of the New Woman continued to play a role in framing gender relations in the Edwardian era.

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Piccadilly Circus had been the site of new building construction and realigned as part of a massive road-building scheme initiated in the s along with the reconstruction of the Thames Embankment, Charing Cross Road and Shaftesbury Avenue. Amidst the hubbub of London and its multiple modes of transport, a young woman dressed in black marches confidently by.

A major London terminus, Victoria Station was greatly enlarged between and Moreover, his paintings offer an intriguing depiction of the modern woman striding purposefully through the city. Charles Ginner — The Sunlit Square, Victoria Station By the early s women were becoming increasingly visible in metropolitan London.

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Professionally, women entered the workplace in ever greater s; periodicals regularly noted their successes in the fields of medicine, education and journalism to name a few. Moreover, women were active participants in the developing pleasure and leisure economy of the modern city. Much writing about the New Woman has focused on her literary representation.

Although the peak of the New Woman phenomenon is generally equated with novels of the mids, her political, social and cultural impact continued well into the Edwardian period and beyond. The New Woman was not, however, a unified category and the contradictory nature of the visual representations of women across the period — are indicative of wider contemporary tensions relating to gender and labour.

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The modern woman and the New Woman. Stanislawa de Karlowska in her artist's smock c. Stanislawa De Karlowska — As art historian Lisa Tickner has demonstrated in a chapter on the subject, it was not only militancy that distinguished the Edwardian suffrage movement, but a new politics of spectacle and political propaganda.

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As women increasingly participated in activities ranging from electoral reform to motor car driving, Punch continued to publish mocking representations. Other journals, however, took up the challenge of their defence.

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The Conciliation Bill had had two readings in July, but the Prime Minister Herbert Asquith refused facilities to further the Bill and it was subsequently shelved. Dudley Hardy c. Are the lights in the New Year's sky of a false dawn, or do they presage the coming of a new and better day? January Two more illustrations of fashionable modern women mid-speech presumably referenced the primacy of the platform.

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Lady's Realm frontispiece April In addition to dress, another shift for modern women was in attitudes to sexuality. The issue of sexual independence had been a feature of writing on the New Woman and in egalitarian feminist politics.

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Figures such as birth control campaigner Annie Besant crucially advocated new choices for women. Debates were explicitly articulated on the s of three radical journals, beginning in November with the Freewoman edited by Dora Marsden and Mary Gawthorpe and followed by the New Freewoman and the Egoist. There is probably a far greater range of variation sexually among women than among men, and the sister or friend of a cold-blooded woman may be capable of intense sexual emotion.

While Ellis, with his exaggerated emphasis on motherhood, might be seen to have had negative implications for feminists, one viewpoint that emerged with particular resonance for the Freewoman was that women were sexual beings. Indeed, the changing structure of British society was in good part a result of the collective identities and struggles of women that had emerged on a national scale in that decade.

The creation of the Society of Women Journalists in coincided with the emergence of the New Woman, and female journalists became increasingly visible both in print and in the city. In the s the New Woman had frequently been portrayed in Punch in a series of stereotypes of unattractive single women. One such was Ella Hepworth Dixon who had published The Story of a Modern Woman in and as an independent woman journalist fitted the stereotype of the New Woman, much like the protagonist in her story, Mary Erle, the daughter of a prominent academic.

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Her own memoirs, however, contradict the image of the mannish figure with pince-nez and latchkey, intent on reading rather than socialising. As the social historian Penny Tinkler has underlined, cigarette smoking was to be an important symbol of social independence among those who were identified as New Women or supported the suffrage movement. This suggests a wider question.

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Why should women want to travel by train at all? Stanislawa de Karlowska smoking in the doorway of Lytchetts in Devon c. Although prevalent in the popular press, smoking women were most frequently depicted as prostitutes or radicals, until the Edwardian period. The club claimed equal status and privileges as those enjoyed by male authors and was part of the larger entrance of women into the public spaces of London.

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Some helped create a community of women, while others helped to legitimise heterosocial amusement. They all confirmed a place for women in the urban centre. Despite all of these developments from the s, however, the Camden Town Group, by contrast, remained a male-only preserve. According to the playwright, Ashley Dukes, the Camden Town Group models often attended too, so there was no lack of women. Nevinson famously walked in alone and blithely ordered a meal for herself.

Adrian Allinson — In addition to wearing her hair short, she also frequently wore trousers. Bohemian women like Hamnett, Tree and Cunard were engaged in a life of masquerade where their leading art exhibit was their own public image.

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Portraying New to Modern Woman: modernity and fashionability For Erica Rappaport, by the end of the nineteenth century:. They acted the part of the voyeur who travelled in, gazed at, and wrote about the urban spectacle.

They were also among the desirable objects on display in this marketplace.

The advent of the New Woman had coincided with the zenith of society portraiture and the world of fine art embodied the glamorous metropolis for women; yet portraits also reflected an ambiguity, revealing anxieties around the specificity of male and female roles and relationships. Sir William Rothenstein — She stands hand on hip, in a shirt-waist, tie, skirt and jacket.

With her frontal pose, direct gaze and with a straw hat balanced on her hip, she exudes confidence and vivacity fig.

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In her memoir Stokes reported that it was Sargent who changed his initial plan of painting her in a formal evening dress, deciding instead to paint her looking just as she had arrived one morning, full of energy from a brisk walk. Her husband, a later addition, recedes into the background emasculated by the positioning of her hat.

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It was the latter that went on to offer challenging representations of New Womanhood in the Edwardian period. John Singer Sargent — Bequest of Edith Minturn Phelps. Gwen John — Gwen John is a key example. A striking self-confidence is evident in her Self-Portrait of c.

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Her self-presentation in a working blouse and bold tie also distinguishes her from the spectacular portraits of wealthy female sitters portrayed in luxurious fabrics. Both male and female artists associated with the Slade and later the Camden Town Group were concerned with diverse representations of the modern woman rather than large spectacular portraits of society beauties. They attended to the multiplicity of types across class and social status in the metropole, ranging from working class women, flower sellers and coster women to portraits of the artists themselves and their families.

The market for these smaller portraits was also distinctly different from that of the portraits of the wealthiest members of London society. The works were targeted at middle class buyers with financial means more similar to those of the artists themselves.

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Spencer Gore — Several female members of avant-garde circles were experimenting with dress by this period. In newspaper photographs from the vorticist Rebel Art Centre, Kate Lechmere, for example, appears in a gown in the fashionable tubular shape popularised both by Poiret and the Ballets Russes.

Her hair is also bobbed, a daring cut more widely popularised by the American dancer Irene Castle around The artist and model Nina Hamnett similarly had her hair cut in a bob by the sculptor Ossip Zadkine so that she resembled one of his statues. Urban mobility The transformation of modern women as circulated visually through portraiture als the dramatic changes to their physical presence in the city.

For women, the possibility of urban mobility had emerged in the decade and became a crucial feature in their developing independence. The expansion of cheap public transport had transformed the experience of late Victorian Londoners. During the s the railways had allowed suburbs to grow out from the city, which were connected between the radii by horse-drawn buses and trams. It has been estimated that by these trains carried million passengers a year in Greater London.

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