Origins
The WOMEN’S ART SOCIETY OF MONTREAL was founded in 1894 by two Montreal women, Mary Martha Phillips and and Mrs. James H. Peck (nee Mary Alice Skelton), with the goal of integrating women into the art world at a time in history when women had few rights and were relegated to other roles. The parent body was incorporated in Toronto in 1892.
In the mid-nineteenth century, women were not considered to be serious contributors to the field of art and had enormous difficulty obtaining a public showing, some even having to hide their true identities for fear of social recrimination.
Mary Peck was the first president (1894-1896) of the Montreal branch of the Women’s Art Association and remained on the Executive Committee for several years. Phillips, herself a talented painter and teacher, succeeded Peck as the president in 1897 and served in this capacity until 1906.
"A first step towards the formation of this Association was taken by those who met on April 16th, 1894, in Miss Phillips' studio, 'to consider the advisability of forming an Art Association for the women of Montreal.' 31 members were then enrolled, and the following five lades elected to constitute a committee: - Miss Crawford, Miss Holden, Miss Houghton, Miss Phillips and Miss Plimsoll. We meet to-day to take further action in the matter, and before we do so, I shall endeavour to set forth briefly the aims of the organization and to show how these aims are to be carried out. Its relation to existing art societies first claims our attention. It will form a branch of the Women's Art Society of Canada, which is now affiliated to the National Council of Women of Canada. It will in various ways supplement the work of the Montreal Art Association, and will probably largely consist of the past and present members of that Association. It will do for women artists what the "Pen and Pencil Club" is already doing for men artists in Montreal; and it will do for women artists what the two well-known musical clubs in this city are doing for musicians.
Let it be clearly understood, then, that there is not thought of superseding or entering into rivalry with existing unions for the encouragement of art. The aim rather is to supplement these, by this fourfold effort to influence four classes; First, to afford women who make a profession of art, an increasing number here as elsewhere, opportunities of meeting each other and taking counsel together over their work; Secondly, to stir up women for whom art is one of several pursuits, to take it more seriously as a pursuit and to aim at a higher standard of attainment; Thirdly, to encourage, or if need be, to discourage aspirants to an art career, by bringing them into contact with those who have already achieved something; Fourthly, to induce the general public to care more for pictures and other works of art and to look at them more intelligently.
The aims thus indicated are to be reached in the first instance by opening a club room, where women artists may meet each other and their friends, and see the various art periodicals, etc., and also a studio, where a place to work in an facilities for work will be given to those who would otherwise work at home under difficulties. Meetings of a more or less informal kind will also be organized in the club room, where papers dealing practically and theoretically with art matters will be followed by discussions, and on other occasions there will be debates or rather "art talks.
Instruction in art will not be given through this new scheme; though it may probably lead a large number to avail themselves of the various classes, etc., already held in Montreal. Neither will exhibition of pictures be one of its objects. There are already various opportunities here for the exhibition of good work, and recognizing that even in London, the amount of good work done by women not shown in general exhibitions is only enough to furnish a comparatively small show pictures by lady artists annually, there is not much prospect as yet, of a show of unfortunate results. Those who produce it rest satisfied with what they have done, instead of pressing on to that higher achievement which is within the power of even those whose achievements are high; and the most discerning members of the public look round such an exhibition and say, "well enough for women painters, from whom we cannot expect anything good.
Other methods of carrying out the aims of the Association will doubtless appear as time goes on, and suggestions as to such methods will be gladly received. I may mention one of its needs here, one that is seldom easy to supply well, one which is too often supplied very ill; I mean a terse, expressive and distinctive name. "Montreal Branch of the Women's Art Society of Canada" is far too long and cumbrous for general use, and will inevitably be shortened in ways leading to distracting confusion with other organizations. "Women's Art Guild" occurs to me as a designation that might be appropriate. As a rule, Montreal Guilds are connected with the churches of the city, but this is an accident, as the word has no religious significance, and its conjunction with the word "Art" would show clearly that this scheme is of a secular character. According to the dictionaries, a Guild is "an association of persons of on class for mutual aid," which comes precisely to define the proposed association of beginners and experts in matters artistic. I leave the suggestion with you, however, aware that some ingenious person may hit upon a happier name."