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Breaking Up of the Blue Stocking Club, March 1, 1815. March 1, 1815

Breaking Up of the Blue Stocking Club, March 1, 1815. March 1, 1815


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Breaking Up of the Blue Stocking Club, March 1, 1815. March 1, 1815

Breaking Up of the Blue Stocking Club, March 1, 1815

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Media ID 19987708

© Heritage Art/Heritage Images

Club Misogyny Rowlandson Rowlandson Thomas T Tegg And Son T Tegg Son Tea Urn Tegg Tegg And Son Tegg Son T Tegg Thomas Thomas Rowlandson Thomas Tegg Hand Coloured Hand Tinted


FEATURES IN THESE COLLECTIONS

> Arts > Artists > H > Thomas Hand

> Arts > Artists > R > Thomas Rowlandson

> Europe > United Kingdom > England > London > Sights > British Museum

> North America > United States of America > New York > New York > Sights > Metropolitan Museum of Art


EDITORS COMMENTS
Caption: "Breaking Up of the Blue Stocking Club, March 1,1815 - A Satirical Depiction of Female Intellectuals Engaging in a Tea Party Turned Brawl". This hand-colored etching by Thomas Rowlandson captures a chaotic scene that unfolded during the infamous gathering of the Blue Stocking Club on March 1,1815. The Blue Stockings were an influential society in early 19th-century Britain, consisting of intellectual women who challenged societal norms by engaging in literary discussions and promoting education for women. In this comical yet biting satire, Rowlandson portrays a group of well-dressed women engaged in heated arguments around a tea urn. What was meant to be an intellectual exchange quickly devolves into chaos as teacups are flung and hair is pulled. The artist's exaggerated style highlights the absurdity of such clashes within supposedly refined circles. The image reflects prevailing attitudes towards educated women at the time, with elements of misogyny evident through its portrayal. Despite their contributions to literature and culture, female intellectuals faced criticism and ridicule from those threatened by their intelligence and independence. Preserved at The Metropolitan Museum of Art (The Met), this print serves as a reminder not only of historical gender dynamics but also as evidence that even esteemed societies were not immune to discord. It offers valuable insights into both social hierarchies and artistic techniques prevalent during the early 19th century in Britain.

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