The Woman in White: The Portrait of a Victorian Artist
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In The Woman in White, Walter Hartright’s precarious class and gender status provides an impetus to restructure Victorian class hierarchy and art patronage. Hartright exploits the emergence of urban working class citizens for his professional success and embraces a new mode of mass production of art for them. While the mass production of art opens up the consumption of art for working class patrons, the standard of art is affected by the dangers of mediocrity and vulgarity. Despite his active agency to restructure the Victorian class hierarchy and art patronage system, Hartright is constrained by his allegiance to Victorian ideology and creates his gender identity as a middle class artist through the exclusion of talented women. His demarcation between the public sphere of art and literature, and the private sphere of home-making forces Laura to stop drawing, and Marian to change from an intelligent writer into a child-rearing Virgin Mary figure. Hartright’s ownership of Limmeridge heralds a new modern era, in which professional bourgeois artists diligently producing art commodities for working class patrons have replaced traditional artists serving aristocratic patrons. The hegemony of bourgeois artists with a middle class work ethic is symbolized by the replacement of Raphael’s static image of Madonna and Child with the dynamic image of little Hartright.
Abstract
In The Woman in White, Walter Hartright’s precarious class and gender status provides an impetus to restructure Victorian class hierarchy and art patronage. Hartright exploits the emergence of urban working class citizens for his professional success and embraces a new mode of mass production of art for them. While the mass production of art opens up the consumption of art for working class patrons, the standard of art is affected by the dangers of mediocrity and vulgarity. Despite his active agency to restructure the Victorian class hierarchy and art patronage system, Hartright is constrained by his allegiance to Victorian ideology and creates his gender identity as a middle class artist through the exclusion of talented women. His demarcation between the public sphere of art and literature, and the private sphere of home-making forces Laura to stop drawing, and Marian to change from an intelligent writer into a child-rearing Virgin Mary figure. Hartright’s ownership of Limmeridge heralds a new modern era, in which professional bourgeois artists diligently producing art commodities for working class patrons have replaced traditional artists serving aristocratic patrons. The hegemony of bourgeois artists with a middle class work ethic is symbolized by the replacement of Raphael’s static image of Madonna and Child with the dynamic image of little Hartright.
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