{{Short description|American painter (1841–1927)}} {{good article}} {{Infobox artist | name = Emily Sartain | image = Naudin Studios, Emily Sartain, ca 1880, Moore College of Art and Design, Philadelphia.jpg | caption = Naudin Studios, ''Emily Sartain,'' ca 1880, [[Moore College of Art and Design]], Philadelphia | birth_date = {{Birth date|1841|3|17}} | birth_place = Philadelphia, Pennsylvania, U.S. | death_date = {{Death date and age|1927|6|17|1841|3|17}} | death_place = Philadelphia, Pennsylvania, U.S. | resting_place = | resting_place_coordinates = <!-- {{Coord|LAT|LONG|type:landmark|display=inline}} --> | education = {{plainlist| * [[Pennsylvania Academy of the Fine Arts]] * [[Carlo Raimondi]] * [[Évariste Vital Luminais]]}} | known_for = Mezzotint engraving, painting, art educator | notable_works = ''The Reproof'' | awards = {{plainlist| * {{awards|[[Centennial Exposition]] gold medal|1876|The Reproof||}} * {{awards|[[Pennsylvania Academy of the Fine Arts]] [[Mary Smith Prize]]|1881 and 1883|||}}}} }} '''Emily Sartain''' (March 17, 1841 – June 17, 1927) was an American painter and engraver. She was the first woman in Europe and the United States to practice the art of [[mezzotint]] engraving, and the only woman to win a gold medal at the [[Centennial Exposition|1876 World Fair in Philadelphia]]. Sartain became a nationally recognized art educator and was the director of the [[Philadelphia School of Design for Women]] from 1866 to 1920.<ref>Hoffmann, Mott, Sharon, Amanda (2008). Moore College of Art & Design. Arcadia Publishing. {{ISBN|0-7385-5659-9}}.</ref> Her father, [[John Sartain]], and three of her brothers, [[William Sartain|William]], Henry and Samuel were artists. Before she entered the [[Pennsylvania Academy of the Fine Arts]] and studied abroad, her father took her on a [[Grand Tour]] of Europe. She helped found the [[New Century Club (Philadelphia, Pennsylvania)|New Century Club]] for working and professional women, and the professional women's art clubs, [[The Plastic Club]] and The Three Arts Club.
== Early life == Emily Sartain was born in [[Philadelphia]], Pennsylvania on March 17, 1841.<ref name="Dowd">{{cite book | author=M. Jane Dowd| editor=John F. Ohles | title=Biographical Dictionary of American Educators | volume=3 | location=Westport, Connecticut | publisher=Greenwood Press | year=1978 | pages=1148–1149 <!--prior: url= https://www.questia.com/read/100019890 --> |url=https://www.questia.com/read/71746064 |archive-url=https://archive.today/20141016020852/http://www.questia.com/read/71746064 |url-status=dead |archive-date=October 16, 2014 | via= }}</ref> She was the fifth of eight children<ref name="Martinez p. 120">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA120|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=120|access-date=2016-10-17|archive-date=2020-02-08|archive-url=https://web.archive.org/web/20200208163115/https://books.google.com/books?id=I4phvm-bqDMC&pg=PA120|url-status=live}}</ref> of Philadelphia master printer and publisher of ''[[Sartain's Magazine]]'' [[John Sartain]]<ref name="Hoffmann2008">{{cite book |last=Hoffmann, Mott|first=Sharon, Amanda |title=Moore College of Art & Design |year=2008 |publisher=Arcadia Publishing |isbn=978-0-7385-5659-8}}</ref> and Susannah Longmate Swaine Sartain.<ref name="Dowd" />
In 1858, Sartain graduated from the [[Philadelphia High School for Girls|Philadelphia Normal School]] and then taught school until the summer of 1862.<ref name="Martinez p. 18">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA18|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=18}}</ref> John Sartain taught his daughter art,<ref name="Dowd" /> including the [[mezzotint]] engraving technique<ref name="Martinez p. 18" /> that he revived, which was a favored process in England that created high-quality prints of paintings.<ref name="PMA">{{cite web | url=http://www.philamuseum.org/exhibitions/1997/426.html | title=Mezzotints by John Sartain: Philadelphia Printmaker, 1808–1897 – January 18, 1997 – April 20, 1997 | publisher=Philadelphia Museum of Art | access-date=October 17, 2014 | archive-date=July 28, 2017 | archive-url=https://web.archive.org/web/20170728182333/http://www.philamuseum.org/exhibitions/1997/426.html | url-status=live }}</ref> John Sartain believed in equal opportunities for women and encouraged his daughter to pursue a career.<ref name="Martinez p. 120" /> He mortgaged his house<ref name="Martinez p. 18" /> and gave her a "gentleman's education" in fine art by taking her on a [[Grand Tour]] of Europe beginning the summer of 1862.<ref name=Martinez /> They started in [[Montreal]] and [[Quebec]] and then sailed for Europe. She enjoyed the English countryside; old world cities, especially [[Florence]] and [[Edinburgh]]; the [[Louvre]]; [[Italian Renaissance painting]]s; and artists like [[Dante Alighieri|Dante]] and engraver Elena Perfetti.<ref name=Martinez /> She traveled to Venice to visit [[William Dean Howells]] and his wife Elinor Mead Howells, who was a painter. Sartain decided in the course of the trip that she wanted to become an artist.<ref name=Martinez /> During their travels the Sartains learned that [[William Sartain]] had enlisted during the [[American Civil War]] and later hastily returned to the United States when John and Emily learned that the [[Confederate States Army]] had crossed into [[Chambersburg, Pennsylvania]],<ref name=Martinez>{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA120|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|pages=120–123|access-date=2016-10-17|archive-date=2020-02-08|archive-url=https://web.archive.org/web/20200208163115/https://books.google.com/books?id=I4phvm-bqDMC&pg=PA120|url-status=live}}</ref> which is 158 miles west of Philadelphia.<ref>{{cite web | url=https://www.google.com/maps/dir/Chambersburg,+PA/Philadelphia,+PA/@40.1919721,-77.5118377,8z/data=!3m1!4b1!4m14!4m13!1m5!1m1!1s0x89c976c52b9d969b:0x30f37f7b0fba60a7!2m2!1d-77.6611022!2d39.9375911!1m5!1m1!1s0x89c6b7d8d4b54beb:0x89f514d88c3e58c1!2m2!1d-75.163789!2d39.952335!3e0 | title=Distance between Chambersburg and Philadelphia Pennsylvania | publisher=Google maps | access-date=October 18, 2014 | archive-date=January 23, 2015 | archive-url=https://web.archive.org/web/20150123190821/https://www.google.com/maps/dir/Chambersburg,+PA/Philadelphia,+PA/@40.1919721,-77.5118377,8z/data=!3m1!4b1!4m14!4m13!1m5!1m1!1s0x89c976c52b9d969b:0x30f37f7b0fba60a7!2m2!1d-77.6611022!2d39.9375911!1m5!1m1!1s0x89c6b7d8d4b54beb:0x89f514d88c3e58c1!2m2!1d-75.163789!2d39.952335!3e0 | url-status=live }}</ref>
Of John and Susannah Sartain's children, Samuel (1830–1906), Henry (1833–1895), [[William Sartain]] (1843–1925) and Emily<ref>{{cite web | url=http://www.pafa.org/Museum/Research-Archives/Academy-Stars/66/#sartain | title=The Sartain family: PAFA's most famous artistic dynasty | publisher=Pennsylvania Academy of the Fine Arts | access-date=October 16, 2014 | archive-url=https://web.archive.org/web/20150112122255/http://www.pafa.org/museum/Research-Archives/Academy-Stars/66/#sartain | archive-date=January 12, 2015 | url-status=dead }}</ref><ref name="Chicago2007">{{cite book|author=Ann Lee Morgan Former Visiting Assistant Professor University of Illinois at Chicago|title=The Oxford Dictionary of American Art and Artists|url=https://books.google.com/books?id=pyvjWAcwnHEC&pg=PA432|date=27 June 2007|publisher=Oxford University Press|isbn=978-0-19-802955-7|pages=432–433|access-date=17 October 2016|archive-date=8 February 2020|archive-url=https://web.archive.org/web/20200208163112/https://books.google.com/books?id=pyvjWAcwnHEC&pg=PA432|url-status=live}}</ref> were painters and engravers,<ref>{{cite web |author1=Russell T. Clement |author2=Annick Houzé |author3=Christiane Erbolato-Ramsey | title=The Women Impressionists: A Sourcebook | location=Westport, Connecticut | publisher=Greenwood Press | year=2000 | page=37| url=https://www.questia.com/read/71746064 | archive-url=https://archive.today/20141016020852/http://www.questia.com/read/71746064 | url-status=dead | archive-date=October 16, 2014 | via=}}</ref> beginning a legacy of Sartain family artists and printmakers.<ref name="PMA" /> Sartain sought her father's input on her work throughout her career and benefited from his support and connections. She carried on the mezzotint engraving technique that he taught her. Sartain lived with her parents into adulthood,<ref name="PMA" /><ref name="Martinez p. 139">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA139|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=139|access-date=2016-10-17|archive-date=2018-08-02|archive-url=https://web.archive.org/web/20180802161812/https://books.google.com/books?id=I4phvm-bqDMC&pg=PA139|url-status=live}}</ref> supporting and caring for them in their later years. In 1886, her parents moved into her living quarters at the Philadelphia School of Design for Women.<ref name="Martinez p. 19" />
{{multiple image | align = center | direction = horizontal | image1 = John Sartain.jpg | width1 = 180 | caption1 = [[John Sartain]], Emily's father | image2 = John Sartain and his children, Henry, William and Emily, 1868.jpg | width2 = 295 | caption2 = [[John Sartain]] with Henry, [[William Sartain|William]], and Emily, 1868 | image3 = Emily Sartain in 1868.jpg | width3 = 152 | caption3 = Emily Sartain, 1868 }}
== Education == A portrait painter and engraver, Emily Sartain studied with [[Christian Schussele]] and her father, John Sartain, at the [[Pennsylvania Academy of the Fine Arts]].<ref>{{cite web |author1=Russell T. Clement |author2=Annick Houzé |author3=Christiane Erbolato-Ramsey | title=The Women Impressionists: A Sourcebook | location=Westport, Connecticut | publisher=Greenwood Press | year=2000 | page=32 | url=https://www.questia.com/read/71746064 | archive-url=https://archive.today/20141016020852/http://www.questia.com/read/71746064 | url-status=dead | archive-date=October 16, 2014 | via=}}</ref><ref name=Ricci /> She met [[Thomas Eakins]] at the academy<ref name=Ricci>{{cite book|last=Ricci|first=Patricia Likos|chapter=Bella, Cara Emilia: The Italianate Romance of Emily Sartain and Thomas Eakins | title=Philadelphia's Cultural Landscape: The Sartain Family Legacy | editor=Katherine Martinez and Page Talbott|year=2000|publisher=Temple University Press|location=Philadelphia|isbn=978-1-56639-791-9|pages=120–137}}</ref> and entered into what biographer Henry Adams believes was Eakin's "first known romance". Their romantic relationship ended after Eakins went to Paris to study art and Eakins succumbed to what Sartain described as "temptations of the great city"<ref>{{cite book | author=Henry Adams | title=Eakins Revealed: The Secret Life of an American Artist | location=New York | publisher=Oxford University Press | year=2005 | page=89 | url=https://www.questia.com/read/119145941 | archive-url=https://archive.today/20141016004934/http://www.questia.com/read/119145941 | url-status=dead | archive-date=October 16, 2014 |via=}}</ref> and due to her interest in women's rights.<ref>{{cite book | author=Henry Adams | title=Eakins Revealed: The Secret Life of an American Artist | location=New York | publisher=Oxford University Press | year=2005 | pages=99–100 | url=https://www.questia.com/read/119145941 | archive-url=https://archive.today/20141016004934/http://www.questia.com/read/119145941 | url-status=dead | archive-date=October 16, 2014 |via=}}</ref> The two remained lifelong friends.<ref name="Hoffmann2008" />
{{multiple image | align = center | direction = horizontal | image1 = Thomas Eakins circa 1882 cropped.jpg | width1 = 222 | caption1 = [[Thomas Eakins]], circa 1882 | image2 = Eakins, Study for Portrait of Miss Emily Sartain 1895.jpg | width2 = 179 | caption2 = [[Thomas Eakins]], ''Study for Portrait of Miss Emily Sartain,'' 1895 }}
In 1870, Sartain met [[Mary Cassatt]] in Philadelphia and the following year they left for Paris, London, [[Parma]], and [[Turin]] to study painting.<ref name=Clement /> The women spent the first winter in Italy<ref name="Chicago2007" /> and studied printmaking with [[Carlo Raimondi]], who taught engraving at the Academy of Fine Arts in Parma.<ref name=Clement /> Sartain spent the rest of the four-year stay in Paris<ref name="Chicago2007" /> and studied under [[Évariste Vital Luminais]].<ref name=Dowd /> She shared a studio with [[Jeanne Rongier]]. [[Florence Esté]], Sartain's friend, also worked in the studio occasionally. The women copied each other's work and provided one another with criticism and encouragement.<ref>{{cite book|author=Kirsten Swinth|title=Painting Professionals: Women Artists & the Development of Modern American Art, 1870–1930|url=https://books.google.com/books?id=Saa68GzVGpEC&pg=PA57|year=2001|publisher=UNC Press Books|isbn=978-0-8078-4971-2|page=57}}</ref> Two of Sartain's paintings, a genre painting ''Le Piece de Conviction'' (''The Reproof'') and a portrait of ''Mlle. Del Sarte,'' were accepted at the [[Salon of 1875]].<ref name=Clement /><ref name="McHenry1980" /> Sartain returned to the United States that year,<ref name=Clement />{{efn|When Sartain returned to the United States, Cassatt remained in Paris.<ref name=Clement>{{cite web |author1=Russell T. Clement |author2=Annick Houzé |author3=Christiane Erbolato-Ramsey | title=The Women Impressionists: A Sourcebook | location=Westport, Connecticut | publisher=Greenwood Press | year=2000 | pages=23, 24 | url=https://www.questia.com/read/71746064 | archive-url=https://archive.today/20141016020852/http://www.questia.com/read/71746064 | url-status=dead | archive-date=October 16, 2014 | via=}}</ref> According to Phyllis Peet, Sartain's friendship with Cassatt ended when her friend decided to become an Impressionist.<ref>{{cite journal | author=Phyllis Peet | title= The Art Education of Emily Sartain | journal=Woman's Art Journal | volume=11 | number=1 | date= Spring–Summer 1990 | pages=9–15 | doi=10.2307/1358380| jstor= 1358380 }}</ref>}} when she ran out of money. Harriet (Hattie) Judd Sartain, who was her brother Samuel's wife and a successful homeopathic physician, had lent Emily Sartain money for her education. Emily believed Hattie was likely to continue to help with education expenses in Philadelphia where expenses were lower and she would more likely sell her works.<ref name="Martinez p. 131">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA131|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=131}}</ref>
== Career ==
=== Early career === Sartain set up a studio in Philadelphia in 1875 where she created paintings and engravings.<ref name="May p. 56">{{cite book|author1=Jill P. May|author2=Robert E. May|author3=Howard Pyle|title=Howard Pyle: Imagining an American School of Art|url=https://books.google.com/books?id=xTzraRXV7OMC&pg=PA56|year=2011|publisher=University of Illinois Press|isbn=978-0-252-03626-2|page=56}}</ref> Over the course of her career she made copies of paintings in Spanish and Italian galleries, portraits, genre paintings,<ref name="McHenry1980">{{cite book|author=Robert McHenry|title=Famous American Women: A Biographical Dictionary from Colonial Times to the Present|url=https://books.google.com/books?id=n9SZh8eDtt0C&pg=PA369|year=1980|publisher=Courier Dover Publications|isbn=978-0-486-24523-2|page=369}}</ref> and was the first woman to practice the art of the [[mezzotint]] in the United States and Europe.<ref name=Dowd /><ref name="Hoffmann2008" /><ref>{{cite journal|url=http://www.ahpcs.org/store/imprint-volume-9-2-autumn-1984|last=Peet|first=Phyllis|title=Emily Sartain: America's First Woman Mezzotint Engraver|journal=Imprint|publisher=American Historical Print Collectors Society|volume=9|issue=2|pages=19–26|date=Autumn 1984|access-date=2014-10-22|archive-date=2016-08-25|archive-url=https://web.archive.org/web/20160825205548/http://www.ahpcs.org/store/imprint-volume-9-2-autumn-1984|url-status=live}}</ref> Among her works were period scenes that depicted submissive women with downcast eyes as in ''Italian Woman'' and ''The Reproof''.<ref name="Martinez p. 130" /> Sartain exhibited her works in cities along the [[East Coast of the United States]]<ref name="Martinez p. 19">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA19|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=19}}</ref> and was the only woman to win a gold medal at the [[Centennial Exposition|1876 World Fair in Philadelphia]]<ref name="Hoffmann2008" /> for ''The Reproof''.<ref name=Dowd /> She won the [[Mary Smith Prize]] for best picture by a woman at the 1881 and 1883 Pennsylvania Academy of Fine Arts exhibits.<ref name="McHenry1980" /> Sartain worked as art editor for the paper ''Our Continent'' from 1881 to 1883.<ref name=Dowd /><ref name=Pennell /> She was then the art editor for ''New England Bygones'' (1883) by Ellen C. H. Rollins.<ref name=Dowd /> [[Joseph Pennell|Joseph M. Pennell]] said that Sartain was "the only trained woman art editor I ever knew".<ref name=Pennell>{{cite book | author=Joseph M. Pennell | title= The Adventures of An Illustrator: Mostly in Following His Authors in America & Europe |location=Boston | publisher=Little, Brown, and Company | year=1925 | page=102 | url=https://www.questia.com/read/59519270 | archive-url=https://archive.today/20141016062106/http://www.questia.com/read/59519270 | url-status=dead | archive-date=October 16, 2014 |access-date=October 15, 2014| via=}}</ref> Sartain [[List of women artists exhibited at the 1893 World's Columbian Exposition|exhibited]] her work at the [[Museum of Science and Industry (Chicago)|Palace of Fine Arts]] and at the Pennsylvania Building of the 1893 [[World's Columbian Exposition]] in Chicago, Illinois.<ref name="Nichols">{{cite web |last1=Nichols |first1=K. L. |title=Women's Art at the World's Columbian Fair & Exposition, Chicago 1893 |url=http://arcadiasystems.org/academia/cassatt12.html#hubrecht |access-date=21 August 2018 |archive-date=6 May 2018 |archive-url=https://web.archive.org/web/20180506174007/http://arcadiasystems.org/academia/cassatt12.html#hubrecht |url-status=live }}</ref>
Sartain was a progressive [[New Woman]],<ref name="Martinez p. 130">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA130|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=130}}</ref> who with her sister-in-law, Hattie Judd Sartain, formed the woman's organization, the [[New Century Club (Philadelphia, Pennsylvania)|New Century Club]]. Hattie is believed to have helped her attain the commissions of portraits of local physicians [[Constantin Hering]] and [[James Caleb Jackson]].<ref name="Martinez p. 138">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA138|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=138}}</ref> Besides having financed her education and being her ally and mentor, Hattie also modeled for Sartain.<ref name="Martinez p. 139" />{{efn|Emily also supported her sister-in-law. She said that Harriet was "one of the most successful physicians in Philadelphia, irrespective of sex," and "was a pioneer among women doctors,—and her personal character is so fine and her scientific acquirements so indisputed, that in the struggle to get women doctors admitted in a different state, county and U.S. Societies, her name was always one selected to make an Entering wedge. The fighting over it could only be on the ground of sex, no other exception could be taken."<ref name="Martinez p. 142" />}}
{{multiple image | align = center | direction = horizontal | image1 = Emily Sartain, The Reproof.jpg | width1 = 180 | caption1 = ''The Reproof'', [[Centennial Exposition|1876 World Fair in Philadelphia]] gold medal | image2 = Emily Sartain, Study, Female Head, 1878, oil on canvas, The Neville-Strass Collection, Florida.jpg | width2 = 200 | caption2 = ''Study, Female Head'', 1878, oil on canvas, The Neville-Strass Collection, Florida<ref>{{cite web | url=http://siris-artinventories.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siartinventories&uri=full=3100001~!398662~!0#focus | title=Study, (painting). Emily Sartain | publisher=Smithsonian Institution Research Information System | access-date=October 15, 2014 | archive-date=March 23, 2018 | archive-url=https://web.archive.org/web/20180323092252/https://siris-artinventories.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siartinventories&uri=full=3100001~!398662~!0#focus | url-status=live }}</ref> | image3 = Emily Sartain, Portrait of a Young Girl, by 1893 - child.jpg | width3 = 226 | caption3 = ''Portrait of a Young Girl'', in 1893 }}
=== Philadelphia School of Design for Women === In 1886 she became the director of the [[Philadelphia School of Design for Women]],<ref name="Hoffmann2008" /> in which her father had served on the board as vice president for years.<ref name="Martinez p. 142">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA142|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=142}}</ref> It was the country's largest art school for women,<ref name="Eisenmann">{{cite book | editor=Linda Eisenmann |author=Nina de Angeli Walls|chapter=Design school movement|title=Historical Dictionary of Women's Education in the United States |location=Westport, Connecticut | publisher=Greenwood Press | year=1998 | pages=129–130 | url=https://www.questia.com/read/117391948 | archive-url=https://archive.today/20141016053336/http://www.questia.com/read/117391948 | url-status=dead | archive-date=October 16, 2014 | access-date=October 15, 2014|via=}}</ref> where she was, according to Henry Adams, "a pioneering advocate of advanced education for women."<ref>{{cite book | author=Henry Adams | title=Eakins Revealed: The Secret Life of an American Artist | location=New York | publisher=Oxford University Press | year=2005 | page=485 | url=https://www.questia.com/read/119145941 | archive-url=https://archive.today/20141016004934/http://www.questia.com/read/119145941 | url-status=dead | archive-date=October 16, 2014 |via=}}</ref> Sartain implemented life-drawing classes at the Philadelphia School of Design for Women,<ref>{{cite book |author=Alice A. Carter | title=The Red Rose Girls: An Uncommon Story of Art and Love |location=New York | publisher=Abrams Books | year=2000 | page=18 | url= https://www.questia.com/read/59224867 | archive-url= https://archive.today/20141016063213/http://www.questia.com/read/59224867 | url-status= dead | archive-date= October 16, 2014 |access-date=October 15, 2014| via= }}</ref> using draped male and nude women models, which was uncommon for women artists at the time. She created a professional program that was built upon technical and lengthy training and high standards. The women were taught to create works of art based upon three-dimensional and human forms.<ref name="Martinez p. 142" /> She trained women who taught art.<ref name="Eisenmann" /> Through her efforts, she brought the level of instruction at the school to that of a French academy<ref name="McHenry1980" /> and similar to that of the [[Pennsylvania Academy of the Fine Arts]].<ref name="Martinez p. 143" /> Industrial design schools for women were often considered purveyors of lower forms of art, but Sartain believed that good art was defined more by the artist's capabilities than the medium<ref name="Martinez p. 143" /> and that the same aesthetic principles used to judge fine art could be applied to commercial art.<ref name="McHenry1980" /> She was responsible for introducing important faculty members such as [[Robert Henri]], [[Samuel Murray (sculptor)|Samuel Murray]] and [[Daniel Garber]] to the school.<ref name="de Angelia Walls" /> Sartain was an established, national authority on art education and art for women by 1890.<ref name="Eisenmann" /><ref name="de Angelia Walls" />
She was an exhibitor, member of the Fine Arts jury,<ref>{{cite book|title=The Literary World|url=https://archive.org/details/literaryworld19copegoog|year=1893|publisher=S.R. Crocker|page=[https://archive.org/details/literaryworld19copegoog/page/n366 353]|chapter=Philadelphia Letter}}</ref> chair of the decorating committee for the Pennsylvania Building,<ref>{{cite book|author=Rossiter Johnson|title=A History of the World's Columbian Exposition Held in Chicago in 1893|url=https://books.google.com/books?id=o0tDAQAAMAAJ&pg=PA486|year=1898|publisher=D. Appleton|page=486}}</ref> and an art education speaker at the 1893 Chicago [[World's Columbian Exposition]].<ref name="Eisenmann" /> In 1897, Emily Sartain and [[Alice Barber Stephens]], a teacher at the school, founded [[The Plastic Club]] in Philadelphia.<ref name="Hoffmann2008" /><ref>{{cite book|author=Dennis P. Doordan|title=Design History: An Anthology|url=https://archive.org/details/designhistory00denn|url-access=registration|year=1995|publisher=MIT Press|isbn=978-0-262-54076-6|page=[https://archive.org/details/designhistory00denn/page/86 86]}}</ref> She was president of the club from 1899 to 1903 and again in 1904 and 1905.<ref name="McHenry1980" /> Sartain also help found the Three Arts Club.<ref name="Martinez p. 143">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA143|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=143}}</ref> She spoke in London in 1899 at the Professional Section of the [[International Congress of Women]]. In 1900, Sartain attended the first international conference on art education in Paris. She was one of three delegates from the United States<ref name="Eisenmann" /> that year and again in 1904 in Berne.<ref name=Dowd /><ref name="McHenry1980" /> Her article "Value of Training in Design for Woman" was published in 1913 in ''[[The New York Times]]''.<ref name="HoffmanMott2008" /> She led the design school until 1919<ref name="de Angelia Walls">{{cite book |author=Nina de Angeli Walls |title=Art, Industry, and Women's Education in Philadelphia |year=2001 |publisher=Bergin & Garvey |isbn=0-89789-745-5}}</ref> or 1920.<ref name=Dowd /><ref name="HoffmanMott2008">{{cite book|author1=Sharon G. Hoffman|author2=Amanda M. Mott|title=Moore College of Art & Design|url=https://books.google.com/books?id=Jd5jwS04MJcC&pg=PA17|year=2008|publisher=Arcadia Publishing|isbn=978-0-7385-5659-8|pages=17–}}</ref> Her niece [[Harriet Sartain]] led the school after her retirement. Harriet was Henry's daughter<ref name="Chicago2007" /> and had been mentored by her Aunt Emily.<ref name="Martinez p. 144">{{cite book|author1=Katharine Martinez|author2=Page Talbott|author3=Elizabeth Johns|title=Philadelphia's Cultural Landscape: The Sartain Family Legacy|url=https://books.google.com/books?id=I4phvm-bqDMC&pg=PA144|year=2000|publisher=Temple University Press|isbn=978-1-56639-791-9|page=144|access-date=2016-10-17|archive-date=2016-06-17|archive-url=https://web.archive.org/web/20160617174302/https://books.google.com/books?id=I4phvm-bqDMC&pg=PA144|url-status=live}}</ref> Sartain received certificates, medals, and diplomas in recognition of her service to art and education, including recognition from the London Society of Literature, Science and Art.<ref name=Dowd />
Nina de Angeli Walls wrote, {{blockquote|As Sartain's career illustrates, art schools conferred professional status in a cultural field once dominated by men. Women artists used formal schooling to counter the accusation of amateurism frequently leveled at them. Nineteenth century design schools were the first institutions to offer professional certification for women in such careers as art education, fabric design, or magazine illustration; hence, the schools opened unprecedented paths to female economic independence.<ref name="Eisenmann" />}}
== Later years == Sartain retired to [[San Diego]], California. During her career Sartain traveled to Europe most summers and continued to travel abroad every year during her retirement. She was visiting in Philadelphia when she died on June 17, 1927.<ref name="Chicago2007" /><ref name="Martinez p. 19" />
== Collections == * [[Franklin Institute|Franklin Institute of Science]], Philadelphia, Pennsylvania ** ''[[Frederick Fraley]], ca. 1891–1901'', oil<ref>{{cite web | url=http://siris-artinventories.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siartinventories&uri=full=3100001~!131985~!0#focus | title=Frederick Fraley, by Emily Sartain | publisher=Smithsonian Institution Research Information System | access-date=October 17, 2014 | archive-date=October 23, 2014 | archive-url=https://web.archive.org/web/20141023062823/http://siris-artinventories.si.edu/ipac20/ipac.jsp?&profile=all&source=~!siartinventories&uri=full=3100001~!131985~!0#focus | url-status=live }}</ref> * [[Pennsylvania Academy of the Fine Arts]]:<ref>{{cite web | url=http://www.pafa.org/museum/The-Collection-Greenfield-American-Art-Resource/Browse-By/Artist/Collection-List-by-Artist/997/nameid--610/ | title=Collection List by Artist: Emily Sartain | publisher=Pennsylvania Academy of the Fine Arts | access-date=October 18, 2014 | archive-url=https://web.archive.org/web/20141018075606/http://www.pafa.org/museum/The-Collection-Greenfield-American-Art-Resource/Browse-By/Artist/Collection-List-by-Artist/997/nameid--610/ | archive-date=October 18, 2014 | url-status=dead }}</ref> ** ''Christ Walking on the Sea,'' Emily Sartain after Henry Richter, 1865, mezzotint, etching and stipple ** ''Christ Walking on the Water'', Emily Sartain after Charles Jalabert, 1867, engraving with roulette ** ''[[Ralph Waldo Emerson]],'' Emily Sartain after William Henry Furness, Jr., 1871, mezzotint, etching, engraving and stipple ** Untitled, 1887, oil on wood ** ''Welcome News,'' 1888, etching on chine collé ** ''I. S. Hentchin,'' etching, engraving, mezzotint, stipple and photomechanical texture ** ''S. C. Huntington,'' etching, engraving, mezzotint and stipple ** ''[[Abraham Lincoln|President Lincoln]] and Son,'' mezzotint, etching, engraving, stipple and photomechanical ground ** ''[[John Young, 1st Baron Lisgar|His Excellency Baron Lisgar]],'' mezzotint, etching, stipple and photomechanical ground ** ''[[Samuel Partridge]]'', mezzotint, etching, engraving and stipple ** ''Alexander Thomson'', Emily Sartain after J. C. Darley, etching, engraving, mezzotint and photomechanical ground ** ''J. W. Weir'', Etching, engraving and photomechanical ground
== Notes == {{notelist}}
== References == {{reflist|30em}}
== Further reading == * {{cite book|author=Lincoln Financial Foundation Collection|title=Artists of Abraham Lincoln Portraits: Emily Sartain|url=https://books.google.com/books?id=Pn82MwEACAAJ|year=1864}} * Historical Society of Pennsylvania. "[http://www2.hsp.org/collections/manuscripts/s/Sartain1650.html Sartain Family Papers]".
==External links== {{wikisource-inline|Woman of the Century/Emily Sartain}} * {{Internet Archive author |sname=Emily Sartain}}
{{New Woman (late 19th century)}} {{Authority control}}
{{DEFAULTSORT:Sartain, Emily}} [[Category:1841 births]] [[Category:1927 deaths]] [[Category:American portrait painters]] [[Category:Painters from Philadelphia]] [[Category:19th-century American painters]] [[Category:19th-century American male artists]] [[Category:20th-century American painters]] [[Category:Moore College of Art and Design faculty]] [[Category:20th-century American women painters]] [[Category:19th-century American women painters]] [[Category:American women printmakers]] [[Category:Pennsylvania Academy of the Fine Arts alumni]] [[Category:19th-century American engravers]] [[Category:20th-century American engravers]] [[Category:American women engravers]] [[Category:International Congress of Women people]] [[Category:American women academics]]