Art and Handcraft in the Woman's Building
of the World's Columbian Exposition

WOMAN IN ART. N' OT unreasonable and as capable of proof as any other legend about the matter is this, that the first artist was not he who “ stayed by the tents with the women;” neither Cleanthes, nor Telephanes, but rather was it some happy mother, dreaming dreams by a river, watching the shadows of leaves and flowers come and go, making garments for her man-child, her desire being to her lord. And the shadows of the leaves and flowers fell upon the garments, and then the artist-soul was born, and designed quaint patterns from them to beautify the robe. Penelope drew her own designs upon the shroud she broidered for old Laertes, and the naive drawing of the Bayeux tapestry was from Queen Mathilde’s unac- customed hand, for the men had gone forth to do battle. Ariosto’s much-quoted lines, “ Women have risen to high excel- lence in every art whereto they give their care,” is proven in a long line of illustrious women who have been artists, beginning with Helena, daughter of Timon of Egypt, and continuing to our own Mary Cassatt. From the beginning there have always been those who have stepped from out the ranks of women and stood beside the men. It is no new thing that they should teach, or paint, or write; and if as yet in art there are none who are equal with the masters, they stand immediately behind, unafraid, biding their time, for “ art happens,” and one day Apollo will find one of our own sex to smile upon, and these will walk with the chosen one, who will be of the few who live for all time. It is the fashion to deny women originality. Art is but an imitation, and among the great men of our time, who are they whose inspiration is far to seek? It is a long time ago since the wisest man said: “ There is nothing new under the sun.” Among the ancients, Pliny mentions many women painters who were famous. Helena, daughter of Timon of Egypt, was living in the year (50)