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A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760-1830
The first collective, critical historical study of women artists in Britain and France during the Revolutionary era
“Exhaustive, groundbreaking research. . . . [A] beautifully produced book.”—Jacqueline Riding, Art Newspaper, “Top Art Books of 2022”
In the late eighteenth and early nineteenth centuries, hundreds of women in London and Paris became professional artists, exhibiting and selling their work in unprecedented numbers. Many rose to the top of their nations’ artistic spheres and earned substantial incomes from their work, regularly navigating institutional inequalities expressly designed to exclude members of their sex. In the first collective, critical history of women artists in Britain and France during the Revolutionary era, Paris Spies-Gans explores how they engaged with and influenced the mainstream cultural currents of their societies at pivotal moments of revolutionary change.
Through an interdisciplinary analysis of the experiences of these narrative painters, portraitists, sculptors, and draughtswomen, this book challenges longstanding assumptions about women in the history of art. Importantly, it demonstrates that women built profitable artistic careers by creating works in nearly every genre practiced by men, in similar proportions and to aesthetic acclaim. It also reveals that hundreds of women studied with male artists, and even learned to draw from the nude. Where traditional histories have left a void, this generously illustrated book illuminates a lively world of artistic production.
Featuring an extensive range of these artists’ paintings, drawings, sculptures, and writings, alongside contemporary prints, satires, and works by their male peers, A Revolution on Canvas transforms our understanding of the opportunities and identities of women artists of the past.
Distributed for the Paul Mellon Centre for Studies in British Art
“Exhaustive, groundbreaking research. . . . [A] beautifully produced book.”—Jacqueline Riding, Art Newspaper, “Top Art Books of 2022”
In the late eighteenth and early nineteenth centuries, hundreds of women in London and Paris became professional artists, exhibiting and selling their work in unprecedented numbers. Many rose to the top of their nations’ artistic spheres and earned substantial incomes from their work, regularly navigating institutional inequalities expressly designed to exclude members of their sex. In the first collective, critical history of women artists in Britain and France during the Revolutionary era, Paris Spies-Gans explores how they engaged with and influenced the mainstream cultural currents of their societies at pivotal moments of revolutionary change.
Through an interdisciplinary analysis of the experiences of these narrative painters, portraitists, sculptors, and draughtswomen, this book challenges longstanding assumptions about women in the history of art. Importantly, it demonstrates that women built profitable artistic careers by creating works in nearly every genre practiced by men, in similar proportions and to aesthetic acclaim. It also reveals that hundreds of women studied with male artists, and even learned to draw from the nude. Where traditional histories have left a void, this generously illustrated book illuminates a lively world of artistic production.
Featuring an extensive range of these artists’ paintings, drawings, sculptures, and writings, alongside contemporary prints, satires, and works by their male peers, A Revolution on Canvas transforms our understanding of the opportunities and identities of women artists of the past.
Distributed for the Paul Mellon Centre for Studies in British Art
384 pages, Hardcover
Published July 19, 2022
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Displaying 1 - 2 of 2 reviews
October 13, 2026
One of the best resources I have found on women artists in England and France from the late-18th and into the 19th century. Spies-Gans’s research is very interesting, presented in a readable way, and challenges modern understanding of women’s artistic careers during the periods of focus.
Spies-Gans pairs her extensive research with many graphs and charts further showing the misunderstanding scholarship has had towards women in artists circles.
10/10 would recommend this book to anyone interested in art, history, or visual culture because it has altered how I approach and discuss art from this period while also raising a lot of questions.
Spies-Gans pairs her extensive research with many graphs and charts further showing the misunderstanding scholarship has had towards women in artists circles.
10/10 would recommend this book to anyone interested in art, history, or visual culture because it has altered how I approach and discuss art from this period while also raising a lot of questions.
April 28, 2026
I love, love, love everything about this book. From spectacular artwork (not limited to the glorious cover), to the incredibly thorough research, and great writing. Spies-Gans has done a terrific job of destroying the myth that woman didn't or couldn't train and work as professional artists during this period.
Displaying 1 - 2 of 2 reviews