Fashionability, Exhibition Culture and Gender Politics: Fair Women

Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of figures
List of plates
Preface
Acknowledgements
Part I The Exhibition
	Chapter 1 Exhibiting Fair Women
		Fair Women in the Grafton Galleries
		The Committee
		The Exhibition
		‘Novelty’ and Loan Exhibitions
		(Re)Viewing Fair Women: Parody and Ornament
		Notes
	Chapter 2 ‘Feminine Weapons’: Women, Collecting and Connoisseurship
		Fashionable Objects: Jewels
		Fans to Footwear
		Miniatures
		Collectors and Fair Women
		Women and Collecting
		‘Robbed of Their Chief Ornaments’: Philanthropic Citizens and the Market
		Notes
Part II Modern Fair Women
	Chapter 3 Performing the Modern Woman: Actresses, Celebrity Culture and Exhibitions
		‘Fair Women in Painting and Poetry’
		The Modern Actresses: Fashionability and the New Woman
		Lillie Langtry
		Sarah Bernhardt
		Ellen Terry
		Notes
	Chapter 4 (Re)Envisioning New Women: Eveleen Myers and Gertrude Campbell
		Eveleen Myers: A ‘Fair Woman’ behind the Lens
		Myers’s ‘Fair Women’: Imperial, Intellectual and Political Networks
		‘Winsome, but Ultramodern’: Gertrude Campbell
		Self-Fashioning and the New Woman
		Notes
Part III Fair Women Redux
	Chapter 5 Reinventing Fair Women: Women, Exhibitions and Art Writing 
		Cataloguing ‘Fair Women’
		Transatlantic Fair Women
		Woman’s Exhibition 1897 and 1900
		Collecting Objects: Establishing Expertise
		Notes
	Chapter 6 International Fair Women: The Edwardian Revival 1908–1910
		Reviving Fair Women
		Fair Women Reconfigured at the New Gallery
		New Women and Femme Fatales in 1908
		Fair Women 1909: Nostalgia, Orientalism and Modernism
		Nostalgic Self-Fashioning and Silk
		‘Gypsy Gioconda’ and a ‘Persian Augustus John’
		‘A Dream of Handsome Men’ and ‘A Suffragette’s Wish’
		The Return to the Grafton Galleries in 1910
		‘The Bravura of the Décolleté’: The Reception of Modern Portraiture
		Notes
	Epilogue
		Notes
Bibliography
Index