Biography
Emily Osborn was born inWork and reception
Osborn first exhibited work at the Royal Academy in 1851 with two paintings: ''The Letter'' (a genre painting) and a portrait of Benjamin Goode. Over the next three years she sent four poetical and literary paintings to exhibitions. Three of the paintings were illustrations based on works by Tennyson, Byron, and Collins while one painting was a mood painting titled ''Evening''. In 1855, Osborn was paid 200 guineas for painting a group of life-sized portraits for a Mrs. Sturgis and her children and she also gained acclaim in the same year when her work ''My Cottage Door'' was purchased by the Queen. This acclaim and money allowed her to acquire a studio in 1856 and the following year in 1857, she displayed her most famous and acclaimed work, ''Nameless and Friendless,'' at the Royal Academy. From 1860 to 1870 Osborn enjoyed great success and critical acclaim. She started the decade off by having another one of her works, ''The Governess'' bought by the Queen and ''The Escape of Lord Nithisdale from the Tower, 1716'' brought her more critical praise. In 1861, Osborn traveled to Munich to study and all four of her exhibits at the Royal Academy in 1862 were German themed. Later, in 1862, ''Tough and Tender'' was awarded a medal by the Society of Arts. Osborn won another award for her work ''Half the World Knows Not How the Other Half Lives'', which was displayed at the Crystal Palace in 1864. The piece was awarded 60 guineas for being the "Best Historical or Figure Subject in Oil by a British Artist." Between 1868 and 1870, Osborn is believed to have returned to Germany and in 1870 she sent ''Lost'' to the Royal Academy from Munich to be displayed. This was one of her last critically acclaimed works as Osborn fell out of popularity and critical factor in the 1870s. In 1873 she exhibited her first flower piece and through the 1870s she divided her time between her studio in London and her studio in Glasgow. While Osborn continued to exhibit works at many galleries in the 1880s, none were as well received as her earlier works. In 1884 she made her first portrait in years of Mme Bodichon. Osborn exhibited her work at theThemes
Like other female artists of her time, she focused on literary works for inspiration as it was common for literary paintings to be vehicles female artists used to display their skill and obtain other work such as portraits and landscapes. However, distinguishing her from other female artists who created literary paintings, Osborn's typically were more complex and featured multiple figures to display her ability. For a period of time, her works also focused on the contrast between youth and age, like in ''Tough and Tender'' (1862) and ''Sunday Morning, Betzingen, Wurtemburg'' (1863). However, her work that got the most acclaim was her work that seemed to have a moralizing aspect. Osborn specialized in emotive scenes and often her subjects were young women and children. Her work was seen to have a moral or educational aspect and had a sense of truth and representation of the real world and subjects they depicted. For example, ''The Governess'' (1860), ''For the Last Time'' (1864), and ''Half The World Knows Not How the Other Half Lives'' (1864) were all three seen as conveying valuable moral lessons. There was also a body of literature and painting focused on middle-class women who had to earn money. These works were often inspired by the middle-class women who wrote and painted these subjects and Osborn's ''Nameless and Friendless'' (1857) also plays upon this theme.''Nameless and Friendless''
Osborn's most famous work is ''Nameless and Friendless'' (1857), which has been called "The most ingenious of all Victorian widow pictures."Christopher Wood, ''Victorian Painting'', Boston, Little, Brown & Co., 1999; p. 56. It depicts a recently bereaved woman attempting to make a living as an artist by offering a picture to a dealer, while two "swells" at the left ogle her. The creation of this piece was a product of its time. In the 1850s there was an influx of middle-class women into the urban environment of London. Women began more freely to occupy the streets and travel the city. They would walk the streets, take public transportation, etc. This opened up opportunities for women but also introduced new social dynamics and there were many debates about this new dynamic and way of urban life. ''Nameless and Friendless'' is one of the few publicly exhibited paintings by a woman to address these new urban dynamics during the 1850s. In ''Going Places: Women Artists in Central London in the Mid-Nineteenth Century'', Deborah Cherry says that ''Nameless and Faceless'' is "concerned less with jostling crowds ... this is a painting about the ocular and corporeal encounters of the modern city and its sexual geographies of desire." Cherry notes how the picture plane is full of nuance in body language. The young lady is not active in the painting. The young woman is not only in the center of the picture plane, but also the center of attention of the other characters. The young woman is caught in the multiple gazes of the men around her. The setting appears to be the West End, where Cherry says "the legitimate and the obscene are on sale side-by-side." One of the seated male figures is holding a print with a scantily-clad dancer while the other man sitting next to him looks at the young woman in the center of the painting instead, indicating that the male gaze is sexual in nature and that in the urban landscape where women walk freely, they are still sexualized by the gazes of the men on the streets who can see them. Cherry says that "the gaze of the male customers – which possesses space and simultaneously captures image and body – signifies the hazards of sexual harassment for a respectable working woman in the highly charged and ambivalent spaces of modem London. And it returns us to the mutuality of bodies and space, ocularity and corporeality."Gallery
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