The farmer and mechanic. [volume] (Raleigh, N.C.) 18??-19??, 1911-11-21
She IS PROUD THAT
She IS HOME MADE
So Declared The Wife of a
Noted Man - Continuation
of the Series of 0pportuni-
ties For Women in Business
BY LUCILLE

PAINTER tl HCtc ia lit OWN tight. 80c1 l
nut the stock questions Of cost of liy-
Ing" and 'pcrils Of Paris to her. "And
nothing anluses me 50 much. when / go
ahroHd with my husband and children as
Tie assertion of some OF the spinster copy
won who could never create a S n
gle orig nal line-that they cannot work
away from the Inspiration of Paris.
Any girl can get a thorough training
in art here. The Art Schools OF New
Y.rh, Philadelphia, Chicago, and st. Louis
have a European reputation. And now,
wien. as a nat on, We are just enter ne
upoa our first %art-life, | am not sure but
tie wiser cho ce would be the ellnina-
Ion OF all foreign influence.
n generation ago we initiated the
French. Today we are relying upon our
se4es. Ninslow Homer, LIVING in isola-
on for years on the Ma ne coast, has pro-
duCed marines aud landscapes as genuine
~ American as our p ctures Of Uncle
Sam So has Childe Hassam. Europe
says we don't realize the talent we have
here. As a people, we are wholesome. in
tell gent and have great reverence for
the classic in art-by that I mean the
honest search for perfection and d respect
for mob lily in expression. l think our
w~holeSomeness and undecadence the most
hopeful sign that We W II produce a great
and ' rile art. The French are over-ripe ,
arr stically, they are mad eroticism, hys
teria, sensation prevail now their art is
as yellow as our press. Better stay here,
learn here. work here.
Il think the whole trouble with women
as Students, is they are too faciIe and too
Eighty. They won't st ok; hence the lure
of Paris They won't sit Down before a
problem In art as men do, and stay wth
it until they tear it out by the roots.
What they fondly call pers;stency is very
often only patient futility. They paint
round and round in al undetermined cir
Gle and never get to the centre
DO / think women as Great We as men ?
BY no means. Most women paint we'll be-
cause the man they are imitat ng painted
better: In our work, sex counts least of
all. Women get more than fair treatment.
They do not sit on juries-but they are
often favored by the men who do. The
0rttSt-man beng of pronounced individ-
uality gives due credit to ind yidual7ty in
women. Then the PERSONAL. + the paint
er never intrudes SO much in his work, as
in other ~callfn@s: people care more for
the lecture than its producer.
But how can women EXPECT to create
beauty along sane ines, when their own
lives are 50 out-of-hinge? Most Of them
tbs bug Of self-development, so utterly
absorbed in their own little work, that
they lose all proportion. They refuse to
marry. fearing It viii interfere With their
art, and future ages might hunger if any
OF their work be left undone. Yet how
transient. how ephemeral IS their greatest
work, Posterity will manage to sury We
even the loss Of a Leonardo. If they do
marry, they forget IN Their selfish absorb
ton that the married woman IS only q
member Of a hrm-and the other partners
-ftSDtOI ana cIllu1cn-HdFc Il df-SO.
Then comes the inevitable smash-up and
people say-'artistic temperament'-'not
fitted for domestscity.' etc. And is the
w"rk ever so terribly vital and will pos
tertv really yearu for t?
ARTISTS can marry and live happily as
other people, if they are true artists. and
they are only. that when they have Sc
renftv and sanity in their mental makeup
Kenyon Cox and I pa Mt daily side by
side in the same studio. His work is
large, imnersonaL. classic. I do portraits
O-rf- y NGf-n ~ have h ar,1
res"ects my indiv duality. We are not
jealous Of each other; we don't do the
same thing: we don't even have a like
aim.
"Pefore married. I had to earn my
own living and often ID pot-hoilers; Now,
gained artistic 'n~denendence by marriage,
not lost it. Women enter an office and
work all day as a suhord nate ana say,
10, how free r am!' + can't see it. They
thew put themselves at someone's beck and
can. A woman in her home is absolutely
there. You see I look unon housekeepsng
as 4 business, not an emotion. or course
II Takes some Of nv time. but n woman has
to be very sloven'v hy nature and IN
th"T"htfu1. who. with al our modern con-
Veniences of observation-disclosures living. can
not arrange to gre daily uninterrupted
hours TO her painting"
PVT what about the danger OF Civ ne
a girl an expensive art education. only
10 find ut the end she lacks the divine
IRE TO creata?"
"put think of all the other things il
viii lead to. / intend to give nv daugh-
ter a good art education for its DuTe bus'-
ness valre. Through it, she NAV become
Il TEACHER. an art critic. an evDert hHveF OF
Old masters. 4 worker n stained glass. an
illustrator. architect or museum curator
knowledge of art cannot he wasted IL q
woman Of energy. even il she does noi
become q Rosa Bonheur." I
do YOU think the vote viii nut wo-
men more III line to get to the big places
IN art?"
Genius In man or woman laughs al
Barriers SIS love at 1ocksm tbs. NO woman
or our generation with all our emporium
lies has eauaied Rosa Ronheur. VINO
worked against odds that the most 'ns1g
nlhcant Of US would not now have TO en-
oure. Too much opportunity throttie>