Kyriaki Hadjiafxendi is Senior Lecturer at Bath Spa University, UK.Patricia Zakreski is Lecturer at the University of Exeter, UK.

’This exciting, insightful and thoughtful collection complicates the concept of the professional woman artist, blurring the boundaries between the so-called domestic crafts and art production.’ Janice Helland, Queen’s University, Canada 'C’est l’analyse de forms artisanales/artistiques mineures qui fait la force de cet ouvrage, notamment en mettant en valeur la production des femmes artistes mal connues ou anonymes. De plus, l’analyse des procédés de fabrication de l’artiste qui se construit ou est construit comme un bien de consommation ou une oeuvre d’art apporte un éclairage nouveau sur les femmes célèbres comme George Eliot, Elizabeth Braddon ou Michael Field.' Cahiers Victoriens et Edouardiens '... [it is] an excellent publication, which has the potential to significantly shape future research ... The book aims to dismiss the simplistic idea that there was continuous progress for middle-class women from amateurs into professionals during this period. [The book] instead provides a more nuanced understanding of the complex relationship between gender, artistic labour, and creativity.' Zoe Thomas, Reviews in History

• Artistry and Industry – The Process of Female Professionalisation; I: Industrious Amateurism; 1: Women's Work; 2: Light Work; 3: Pertinacious Industry; 4: Dresses and Drapery; II: The Artistic Career; 5: Contrary to the Habits of Their Sex? Women Drawing on Wood and the Careers of Florence and Adelaide Claxton; 6: The China Painter; 7: Creative Industry; 8: Dorothy's Career and Other Cautionary Tales; III: The Craft of Self-Fashioning; 9: Negotiating Fame; 10: Crafting the Woman Artist; 11: ‘Mady's tightrope walk': The Career of Marian Huxley Collier; 12: Living Art

Kyriaki Hadjiafxendi is Senior Lecturer at Bath Spa University, UK.Patricia Zakreski is Lecturer at the University of Exeter, UK.

’This exciting, insightful and thoughtful collection complicates the concept of the professional woman artist, blurring the boundaries between the so-called domestic crafts and art production.’ Janice Helland, Queen’s University, Canada 'C’est l’analyse de forms artisanales/artistiques mineures qui fait la force de cet ouvrage, notamment en mettant en valeur la production des femmes artistes mal connues ou anonymes. De plus, l’analyse des procédés de fabrication de l’artiste qui se construit ou est construit comme un bien de consommation ou une oeuvre d’art apporte un éclairage nouveau sur les femmes célèbres comme George Eliot, Elizabeth Braddon ou Michael Field.' Cahiers Victoriens et Edouardiens '... [it is] an excellent publication, which has the potential to significantly shape future research ... The book aims to dismiss the simplistic idea that there was continuous progress for middle-class women from amateurs into professionals during this period. [The book] instead provides a more nuanced understanding of the complex relationship between gender, artistic labour, and creativity.' Zoe Thomas, Reviews in History

• Artistry and Industry – The Process of Female Professionalisation; I: Industrious Amateurism; 1: Women's Work; 2: Light Work; 3: Pertinacious Industry; 4: Dresses and Drapery; II: The Artistic Career; 5: Contrary to the Habits of Their Sex? Women Drawing on Wood and the Careers of Florence and Adelaide Claxton; 6: The China Painter; 7: Creative Industry; 8: Dorothy's Career and Other Cautionary Tales; III: The Craft of Self-Fashioning; 9: Negotiating Fame; 10: Crafting the Woman Artist; 11: ‘Mady's tightrope walk': The Career of Marian Huxley Collier; 12: Living Art

Kyriaki Hadjiafxendi is Senior Lecturer at Bath Spa University, UK.Patricia Zakreski is Lecturer at the University of Exeter, UK.

’This exciting, insightful and thoughtful collection complicates the concept of the professional woman artist, blurring the boundaries between the so-called domestic crafts and art production.’ Janice Helland, Queen’s University, Canada 'C’est l’analyse de forms artisanales/artistiques mineures qui fait la force de cet ouvrage, notamment en mettant en valeur la production des femmes artistes mal connues ou anonymes. De plus, l’analyse des procédés de fabrication de l’artiste qui se construit ou est construit comme un bien de consommation ou une oeuvre d’art apporte un éclairage nouveau sur les femmes célèbres comme George Eliot, Elizabeth Braddon ou Michael Field.' Cahiers Victoriens et Edouardiens '... [it is] an excellent publication, which has the potential to significantly shape future research ... The book aims to dismiss the simplistic idea that there was continuous progress for middle-class women from amateurs into professionals during this period. [The book] instead provides a more nuanced understanding of the complex relationship between gender, artistic labour, and creativity.' Zoe Thomas, Reviews in History

• Artistry and Industry – The Process of Female Professionalisation; I: Industrious Amateurism; 1: Women's Work; 2: Light Work; 3: Pertinacious Industry; 4: Dresses and Drapery; II: The Artistic Career; 5: Contrary to the Habits of Their Sex? Women Drawing on Wood and the Careers of Florence and Adelaide Claxton; 6: The China Painter; 7: Creative Industry; 8: Dorothy's Career and Other Cautionary Tales; III: The Craft of Self-Fashioning; 9: Negotiating Fame; 10: Crafting the Woman Artist; 11: ‘Mady's tightrope walk': The Career of Marian Huxley Collier; 12: Living Art