Acknowledgements
The author wishes to thank: Dr Rosemary Betterton and Dr Dorothy Rowe for their invitation to present an earlier version of this paper at the Association of Art Historians conference, Tate, London, April 2008; Dr Marysia Zalewski, for her invitation to present at ‘Ending International Feminist Futures?’, University of Aberdeen, October 2008; Mairi Maclean-Eltham, for her careful bibliographical research on women artists and celebrity; and Dr Jutta Vinzent for her very useful comments on ‘primitivism’.