Moore examines the life of 18th century English artist and aristocrat Mary Delany, particularly with respect to her relations with other women. As an artist and writer, Delany’s work has often been overlooked due to focusing on “feminine” genres and media, creating domestic ornaments rather than works in more traditionally “serious” genres. She was known in particular for her highly-realistic botanical illustrations created as cut-paper collages that were renowned for their realism.
Bluestockings
LHMP entry
This article examines the question “were the Bluestockings queer?” Also the converse “were Bluestocking and ‘lesbian’ mutually contradictory?” On the Bluestocking side, Lanser places 5 women generally considered the movers and shakers: Elizabeth Robinson Montagu, Elizabeth Carter, Catherine Talbot, Hester Mulso Chapone, and Sarah Robinson Scott. The Bluestockings weren’t a clearly defined group and membership was sometimes assigned from outside, rather than being a self-identification—a process in which historians have participated.
This is a high-level overview of the English Bluestocking movement(?), as part of a special volume of Huntington Library Quarterly on “Reconsidering the Bluestockings.” As such, it doesn’t touch much on specifically sapphic topics, but provides a useful context for various individual Bluestockings.
This chapter looks at the relationship between noted bluestocking Elizabeth Montagu [https://en.wikipedia.org/wiki/Elizabeth_Montagu] and her protégé Dorothea Gregory, who was taken on functionally as an adopted daughter and raised to continue Montagu’s career and projects.
Bodek does a compare-and-contrast study of the 18-19th century salon movements in France and England. It becomes apparent in the course of the article that the author has a decided sympathetic preference for the English “bluestockings” as opposed to the French salonières, but this needn’t undermine the usefulness of the article.
Salons emerged out of 18th century French and English reformist ideals of egalitarianism, especially around the question of women’s education. Those ideals failed to create any overall improvement in the situation of education for girls and young women.
Lanser opens with a letter from the intellectual Elizabeth Montagu in 1750 deploring the plan of two female friends to live together as it will "hurt us all" if women "make such a parade of their affection" leading to suspicion regarding all female friendships. Lanser argues that Montagu's objection is unlikely to be to romantic friendships as such. The sister to whom the letter was addressed would later pen Millenium Hall, a celebration of separatist female friendship.
