Thousands of women pursued artistic careers in the United States during the late nineteenth century. According to census figures, the number of women among the ranks of professional artists rose from 10 percent to nearly 50 percent between 1870 and 1890.

This engaging cultural history examines the emergence of a professional identity for American women artists. By focusing on individual sculptors, painters, and illustrators, Laura Prieto gives us a compelling picture of the prospects and constraints faced by women artists in the United States from the late eighteenth century through the 1930s. Prieto tracks the transformation from female artisans and ladies with genteel "artistic accomplishments" to middle-class professional artists. Domestic spaces and familial metaphors helped legitimate the production of art by women. Expression of sexuality and representation of the nude body, on the other hand, posed problems for these artists. Women artists at first worked within their separate sphere, but by the end of the nineteenth century "New Women" grew increasingly uncomfortable with separatism, wanting ungendered recognition. With the twentieth century came striking attempts to reconcile domestic lives and careers with new expectations; these decades also ruptured the women's earlier sense of community with amateur women artists in favor of specifically professional allegiances. This study of a diverse group of women artists--diverse in critical reception, geographic location, race, and social background--reveals a forgotten aspect of art history and women's history.

In The Practice of Her Profession, Susan Butlin draws on unpublished letters and family memoirs to recount Carlyle's personal and professional life. She explores Carlyle's artistic influences, her relationships with artist colleagues and encounters with the cultural worlds of Paris, New York, and early twentieth-century Canada, and provides a detailed examination of Carlyle's paintings. Butlin's vivid description of the artistic life of women of this era, from access to art training to the important role of women's art societies, introduces readers to Carlyle's many accomplished contemporaries - Helen McNicoll, Mary Reid, Laura Muntz, Sarah Holden, Sydney Tully, Elizabeth McGillivray Knowles, and others.

Kathleen McCarthy here presents the first book-length treatment of the vital role middle- and upper-class women played in the development of American museums in the century after 1830. By promoting undervalued areas of artistic endeavor, from folk art to the avant-garde, such prominent individuals as Isabella Stewart Gardner, Gertrude Vanderbilt Whitney, and Abby Aldrich Rockefeller were able to launch national feminist reform movements, forge extensive nonprofit marketing systems, and "feminize" new occupations.