This online exhibition aims to display how English portraiture has a longstanding association with issues surrounding wealth, class and gender within the canon of Art History. The exhibition will be an exploration of the intricate social dynamics that encapsulated the early twentieth century.

It has been researched, curated and written by undergraduate students reading Art History and Visual Culture at the University of Exeter.

Introduction

Delving into the narratives woven within four selected portraits from the University of Exeter's collection, this exhibition illuminates their resonance with broader themes of class and gender within English portraiture. Through these artworks, we trace the intricate connections between each person depicted and the wider social hierarchies in which they existed. We also consider how this links to the the overarching concept of bourgeois culture and academic bias against marginalized classes across European history.

We have gleaned insights from each selected portrait to vividly illustrate how visual cues of affluence and social hierarchy are conveyed. Additionally, we will shed light on how artists navigated traditional gender norms, both reinforcing and challenging them.

Through depictions of women as paragons of virtue, domesticity, and refinement, and men as symbols of authority, ambition, and success, these paintings reflect how differently men and women were seen in society at the time.

William Tatem, Lord Glanely

Frank Samuel Eastman (1878–1964)

1932

Oil paint on canvas

This portrait depicts British Nobleman and industrialist Lord Glanely, a white, upper-class British man. The oil on canvas painting was created in 1932, by Frank Eastman, a prominent British artist of the nineteenth and twentieth centuries.

Having trained at the Royal Academy Schools from 1899-1904, Eastman developed the techniques necessary for accomplished portrait painting, which were honed throughout his long and successful career.

The painting is a conventional depiction of male success and status. The 1930s were still a time of stereotypical gender and racial norms; despite reforms in votes for women in the previous decade, society was still inherently patriarchal.

Here, we see Lord Glanely, a self-made shipping magnate, sitting in the centre of the composition surrounded by symbols of education, wealth, and status. His body is slightly turned towards the viewer, yet his gaze remains directed outwards as if looking at something beyond the frame, suggesting deep thought and creating an atmosphere of contemplation throughout the work.

Observing the painting we see Lord Glanely in an assertive pose, his clothing and choice of objects around him symbolising taste, luxury and academic connections; factors not uncommon within depictions of upper-class men and the academic elite.

Typically within academic portraits, sitters face forward confidently, in order to exude their status to the viewer; here it is no different. Lord Glanely’s formal academic attire, his upright posture and confident yet relaxed gaze come together to highlight not his wealth and status and allude to his philanthropy in the academic realm. In 1927, he donated £25,000 to the University of Exeter's predecessor body, the University College of the South West.

The academic attire is intrinsically important, considering the academic purpose of the painting. His robe and cap recognise his role as an academic benefactor. Having a reputation to uphold, Glanely wears a tailored suit beneath his robe; his hair and beard are neatly trimmed, creating a consistent message in the overall aesthetic and defining characteristics of the artwork. Down the sleeve of his left arm, the academic robe is embellished with gold buttons and delicate embroidery suggesting it is both expensive and of high quality.

This portrait was presented to the University College of the South West by Lord Glanely in 1932.

Lord Glanely represents a figure of the higher socio-economic class and dominant racial group that had greater access to the cultural arena. This is a theme that has remained consistent throughout English art history, with the inequality of classes allowing people like Lord Glanely and Eastman to engage with and appreciate certain cultural products deemed ‘tasteful’ or ‘sophisticated’; ultimately leading the way for their success.

The portrait of Lord Glanely serves as a visual representation of his class identity, reflecting not only his wealth and status but also the broader social hierarchy of that time.

Portrait of Florence Salter

Jean Ballantyne (1873-1956)

Early 20th century

Oil paint on canvas

Arguably this piece contrasts the most against the three others. The portrait of Miss Florence Salter, is redolent of the style of female portraits in England in the 19th century. Whilst the male portraits are dominating in their colour palette, composition and style this piece is largely more soft, delicate and simple in contrast.

The portrait is unusual in that the sitter is not of any noble or titled importance.

The painting emphasises the feminine qualities of the sitter. She engages with the viewer, and her body language is open, appearing soft and welcoming, unlike the male portraits. Additionally, her dress with delicate lace and white frills emphasises the sense of feminine and idealised beauty. The white dress also acts as a symbol of purity which characterises her as a classic, fashionable middle class Edwardian woman- sitting fully within the social expectations of the time.
It is interesting to note that the artist, Jean Ballantyne, was a woman. Does this make a difference to the intention of the portrait? Is the sitter intended to be a subject of the male gaze, or is this simply a portrait intended solely to be displayed within the home of Florence Salter?

The soft flowing material has an almost diaphanous quality to it, reminiscent of classical interpretations of the 3 graces (the pinnacle of femininity recognised globally). Florence Salter was a celebrated singer in the early 1900s who, although from Devon, performed around Europe with her sister Bertha. The way in which Florence has been depicted, in respectable attire, may reflect her wish to appear respectable because of the associations at the time with moral laxity that came from being a woman and a performer

What is particularly striking is the contrast between this piece, which feels both delicate and less powerful, and the other portraits chosen in this curated collection, which are direct and visually more striking. The artwork depicts a sense of femininity not seen in the other artworks, and even that of the half portrait of Helen Hope, which you will see further on, is stereotypically masculine in the subjects’ position. Moreover, having Salter’s hands placed together underneath her chin further exaggerates the sense of femininity and softness in the piece.

Portrait of William H Reed

Nathanial Hughes John Baird (1865 -1936)

Unknown date

Oil on canvas

This portrait of William Henry Reed, by Nathanial John Hughes Baird is an oil painting on canvas.

William Henry Reed was a JP, a partner in the Express and Echo, and paper manufacturer. He purchased Streatham Hall in 1922 and immediately presented it to the University College of the South West. Now renamed Reed Hall, after William Henry Reed, it provided the first building and land of today's Streatham Campus. Unfortunately Mr Reed died in 1923 so did not live to see the expansion of the site as it moved towards University status.

As with the portrait of Lord Glanely, we see the sitter in the centre of the composition. He relaxes in a large chair, reminiscent of a throne. He looks past the viewer, appearing deep in thought. The portrait exemplifies Reed’s power, status and wealth, and, like many other paintings of this genre, it is a visual representation of how the sitter wishes to be viewed (and views himself).

The simple background shows papers scattered over a dark oak desk, where we see Reed resting his hand, while holding a pen. These simple materials together with the sand-coloured suit Reed wears which is neither overly detailed nor embellished, inform us that although the sitter is of the upper class he is also a working man and wants this to be shown to the viewer.

Portrait of Helen Hope

Unknown artist

Early 20th century

Oil paint on canvas

The subject of this oil painting on canvas is Miss Helen Hope, a benefactor of the University of Exeter who sought to advocate education for women.

The subject of this oil painting on canvas is Miss Helen Hope, who was a pioneer of women in public service in the city of Bath. She was the first female magistrate there and was also a city councillor. She also established a venue called Citizen House in Bath in 1913 whose purpose was to be a space or meeting place to exchange ideas and skills, and for education and arts, for all classes of society in the Bath community. She came from a well-to-do family and her brother was a Member of Parliament. When she died in 1922, her estate was left to a friend who tutored women students at the University College of the South West. This money was subsequently gifted to the University College by her friend to establish a women’s hall of residence on the Streatham Campus, which was named Hope Hall.

The portrait depicts Miss Hope, from the waist upwards. Hope is the focal point in the image, with a receding cool blue background serving to focus the viewer on the warmer tones of the sitter.

There are no other objects within the image, allowing Hope to be the primary focus. High levels of realism are present within the portrait, seen in Hope's facial features, hair and clothing. She appears calm, and her gaze is disengaged with the viewer. The portrait depicts her as poised and wise, with her calm manner being reflected through the subdued and mellow palette.

Miss Hope's wealth is hinted at through the fur she wears. However, her appearance is understated – with dark-coloured clothing, a simple hairstyle and a lack of jewellery.

This sombre representation perhaps signifies that she wants to be portrayed as a mature and wise woman, who wishes to be taken seriously. There are no objects around her to suggest her background or achievements; instead she sits alone.

A slight smile can be seen in her facial expression as she directs her gaze upwards neither making eye contact with the viewer nor looking down on them, suggesting that she does not see herself as superior. By not making eye contact, and with a slight smile, she appears unthreatening, yet she is to be respected.

The 'half-length’ portrait style of the image is redolent of Greco-Roman bust sculptures. Such sculptures were used in ancient Rome to commemorate people of nobility. This subtle connection could be used within the portrait to symbolise her status and prestige. The ‘half-length’ may equally be connected with where the portrait was going to be viewed and by whom. If it originally hung, for example, in Citizen House, it may have been painted to mark her place there but not to create a feeling of class differentiation.

Through the lens of gender, wealth, and class, these portraits serve as windows into the past, revealing both the beauty and flaws of early twentieth-century English society. From the dignified gaze of a wealthy industrialist to the captivating composition of a soprano, each portrait offers a unique perspective on the multifaceted dynamics of power and privilege. We are confronted with the stark realities of inequality and discrimination, yet also inspired by the resilience and agency displayed by those who dared to challenge the status quo. We hope this exhibition serves as a catalyst for continued dialogue and introspection, challenging us to confront our assumptions and biases as we strive towards a more inclusive and equitable society.