A feminist painter and her feminist royal patron

I’m in Edinburgh finishing a portrait this week. My subject bought me a copy of The Lady. This is one of Britain’s longest-running magazines. Founded in 1885, it was where the gentry advertised for domestic servants. Between the nanny ads and the horoscopes, there are some pieces of surprising interest, including a biography of 18^th century painter Mary Moser.

Moser is best remembered for her decorative painting at Frogmore House, an English country house within the Home Park at Windsor. Started in 1680, it was largely renovated by Queen Charlotte, whom Americans know as the wife of King George III.

But the Queen was much more than that. Among other things, she was a champion of women artists and a keen amateur botanist who helped expand Kew Gardens. It was this interest in botany that led to her hiring Moser to decorate the South Pavilion at Frogmore House.

The house was more than a century old when Queen Charlotte purchased it in 1792. She used it as a retreat from nearby Windsor Castle, where she and her daughters could practice their hobbies of “painting, drawing, needlework, japanning, reading and ‘botanising’.” The Queen had borne 15 children (13 of whom lived to adulthood) and had a mentally-ill husband, so it’s perhaps understandable that she then built another retreat within the gardens of this retreat. That’s Frogmore Cottage, where the Duke and Duchess of Sussex now live with their new baby.

Moser was already well-regarded as a floral painter when she took up the commission at Frogmore House. She had been trained by her father, an enamellist and himself a drawing tutor to George III. She was one of 36 artists who joined together to form the Royal Academy of Arts. At the age of 24, she was the youngest Academician and one of just two women among the founders. The other was Angelica Kauffman.

Moser did not marry until later in life. By convention, a woman’s professional life ended upon marriage. “[P]erhaps there was no man worth giving it all up for,” suggested The Lady.

Moser carried on an affair with miniaturist Richard Cosway. He was well-known as a libertine, and “commonly described as resembling a monkey.” (His wife was, in turn, getting it on with Thomas Jefferson.) In his notebooks, Conway made lascivious comments and “invidious comparisons between her and Mrs Cosway,” implying that Moser was more sexually responsive than his wife. He died insane, just in case you’re wondering if there’s cosmic justice.

Moser married at age 49. Bowing to social pressure, she retired and began exhibiting as an amateur under her married name. She’d made a pile of money as a painter; the Frogmore commission alone earned her £900, which is equivalent to £100,000 today. She left most of her wealth to women: relatives, friends, and the wives of other artists.

It’s very trendy right now to ‘discover’ women artists. But how lost were they in the first place? Artemisia Gentileschi, for example, may not have been a household name twenty years ago, but was well-known to students of the Baroque.

The problem wasn’t so much with their own times, but with the peculiar blinders of the 19^th and early 20^th centuries. Moser’s membership in the Royal Academy was circumscribed to some degree by her gender; she could not attend nude sketch sessions, for example, and some meetings were closed to her. But all in all, she had a happy and complete life as a painter.