[This is part 2 of 4]
Having made some account of how labeled and counted my data in the last post, I won’t comment much further on that except to note that I’ve published a copy of my spreadsheet on google docs which includes information on pseudonyms and my sources for information on artist gender.
So without further ado, here is the data I’ve collected, as visualized through Tableau.
Linda K. Hughes argues that volumes 1-3 of The Yellow Book are marked by a lack of women poets and this is taken to the extreme in terms of visual art; as Kooistra and Denisoff note, no woman artist appears before Volume 4 (“The Yellow Book: Introduction to Volume 4 (Jan. 1895)”). This is followed by a slow increase in women’s illustrations in Volumes 4-6. Volumes 7-13 demonstrate greater parity. While Hughes saw a decrease in women’s poetry for Volume 13, it is instead Volumes 11 and 8 in which women are underrepresented as artists. As Volumes 7-9 all featured art from a particular regional school, the absence of women’s work in Volume 8 might have more to do with the environment of the Glasgow school than the evolution of The Yellow Book itself, however (Denisoff and Kooistra “The Yellow Book: Introduction to Volume 8 (January 1896)”).
One significant failure of my data at this point is that it does not take account of any artwork that is not represented in the table of contents, as this seemed to have a different significance in ways I wasn’t quite prepared to quantify. It is important to note, though, that the covers of Volumes 9, 11, 12, and 13 featured women’s artwork (Denisoff and Kooistra “The Yellow Book: Introduction to Volume 9 (April 1896)”). Although covers aren’t put in juxtaposition with any particular written texts, they are in a way in relation to them all; in some ways this single placement repeating through the final three volumes seems more significant than the number of women’s illustrations within – in this sense, Volume 9 might be the periodical’s greatest gendered turning point.
Another conclusion my data can help draw, although it is of less interest for my project and it should not be surprising to anyone familiar with The Yellow Book, is that there are more male artists who contributed a large number of works over time to the periodical. So I’m ending this post with a packed bubble chart that breaks this down by gender again. By clicking on an individual bubble it should be possible to see each artist’s contributions by name.