Clemence and Laurence Housman found the Suffrage Atelier

A photo of a banner which was created at the Suffrage Atelier. It reads: "What a woman may be, and yet not have the Vote," with depictions below of a woman as a mayor, a nurse, a mother, a doctor, a teacher, and a factoryhand, followed by its second line of text: "What a man may have been, & yet not lose the Vote, with a man depicted as a convict, a lunatic, a proprietor of white slaves, unfit for service, and a drunkard.

Following the formation of the Artists' Suffrage League, founded by renowned stained glass artist, Mary Lowndes, in 1907, which produced illustrated banners, postcards, and pamphlets used to promote the campaign for women's enfranchisement in Britain and North America, Clemence and Laurence Housman established their own Suffrage Atelier in 1909. Its practices took place at  artists' homes, before the Housman siblings offered the site of their small home, Pembroke Cottage in Kensington, as its headquarters. Though the location of its headquarters would change three more times within its five operational years, the collective vision of the Atelier remained the same: it was to act as an arts and crafts society which worked towards the enfranchisement of women, with an additional effort to encourage artists to forward the women's movement by means of pictorial publications. (VADS, "The Women's Library: Suffrage Banners")

In contrast with its predecessor, the Artists' Suffrage League, the Housmans' Suffrage Atelier encouraged non-professional visual artists and enthusiasts to submit their work to the cause in addition to professional artists, and also offered a small percentage of the sold works' profits as compensation. The Atelier also contrasted with its associates, the Women's Freedom League (1907-61) and the Women's Social and Political Union (WSPU) (1903-17), stylistically, by means of the colours its members chose to use in the creation of its feminist propaganda. While the other organizations used white, green, and purple, which are commonly known as the defining colours of the suffrage movement, the Atelier used a broader range of hues, as depicted in one of its banners (at left), wherein blue, black, and gold are used. Clemence led the team, and also lent her talents as an embroiderer, illustrator, and wood engraver to the Atelier, often spending entire days sitting on a floor cushion, doing her needlework or engraving in order to benefit the cause. Laurence designed a number of the Atelier's banners.

As Clemence Housman was a respected member of the WSPU, much of the Atelier's work could be found for purchase within its store chains and also within the pages of its national newspaper. The Atelier held printmaking workshops and competitions in addition to the numerous exhibitions, political rallies and processions its members would regularly attend and circulate their artwork at, while also allowing for new and meaningful relationships to be forged between women as they worked collaboratively to aid a feminist cause which married the artistic with the political. The feminist nature of the workshop's artistic operations also subverted the common belief that embroidery and needlework reinforced women's domestic place within the home. The Suffrage Atelier ran from 1909-14. (Morton, "Changing Spaces: Art, Politics, and Identity in the Home Studios of the Suffrage Atelier")

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