Abstract
While much has been written about the famous Victorian artist George Frederic Watts (1817–1904), dubbed ‘England’s Michelangelo’, the life and works of his wife Mary Seton Watts (1849–1938) are comparatively neglected. Mary was not only an artist and designer but also a writer and diarist, although her diaries have never before been studied. This article explores the Wattses’ conjugal creative partnership through a reading of Mary’s diaries covering their marital years (1886–1904), offering an unprecedented insight into their professional and personal relationship. It not only reveals their facilitating roles in each other’s creative practices, but also the tensions and gender-role inversions in their partnership, challenging traditional perceptions of Mary as George’s peripheral, submissive wife. Unlike her self-effacing published biography of George Watts, Mary’s private life writing reveals her role as a respected artistic equal, intellectual companion and even ‘brutal taskmaster’. This article explores the Wattses’ artistic collaborations, joint reading practice, and life/death writing through a reading of Mary’s long-forgotten diaries, which document her approach to marriage, gender, art and literature. It recovers her culturally-important life writing, traces the emergence of her artistic identity and feminist voice, and reclaims her as a remarkable diarist.