Love is always greater than hate | Anne Seymour Damer & Mary Berry #art #paintings #history

Anne Seymour Damer (1748–1828) was a pioneering neoclassical sculptor celebrated for her remarkable achievements in an era when women rarely worked in sculpture. Horace Walpole, her cousin and godfather, called her a "female genius" who created lifelike busts that rivaled classical antiquity. Damer stood out in the male-dominated field of sculpture, exhibiting 32 works at the Royal Academy from 1784 to 1818. Her subjects included prominent figures like Lord Nelson and George III, and she even tutored Princess Caroline in sculpture, underscoring her unique position in the art world.

Born into aristocracy, Anne's privileged background enabled her to access resources and training typically unavailable to women. She studied sculpture under Giuseppe Ceracchi and John Bacon, while her time at Walpole's Strawberry Hill exposed her to a rich intellectual and artistic environment. Walpole championed her work and included her sculptures in his esteemed collection. Despite this support, Anne faced challenges, particularly after her troubled marriage to John Damer ended with his suicide in 1776, leaving her in debt but financially independent through a prenuptial agreement.

Anne's artistic career flourished despite societal challenges. She navigated the scrutiny of being a female sculptor in a field requiring physical labor and the study of the nude form, which was seen as "masculine." Critics ridiculed her unconventional pursuits and personal life, often branding her a "Sapphist" and questioning her sexuality. Her relationships with women, including the actress Elizabeth Farren and writer Mary Berry, became fodder for gossip, yet they also formed the foundation of her support network. Berry, in particular, became her lifelong companion, and their relationship offers a compelling case for viewing Damer through a queer historical lens.

Damer's bond with Mary Berry was especially profound. The two women shared a home and traveled together, and Damer referred to Berry as her "only earthly comfort." She even sculpted Berry's bust in bronze, an expensive medium reserved for her most significant works. When Damer died in 1828, Berry refused to destroy all their letters, preserving a record of their deep connection.