Katherine Keenum


A blog about the paintings, photographs, and prints that help me visualize my fiction—both Where the Light Falls and works-in-progress. My main current project is a novel tentatively entitled ANONYMITY. Its heroine works in publishing, belongs to a clandestine suffragist group, and has a married lover. Read on!

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Fiction
An American woman art student meets a Civil War veteran in Belle Époque Paris.

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Picturing a World

Labor Day

September 1, 2014

Tags: Bellows, Henri, Sloan, publishing, workers

If you write historical fiction set in Progressive-Era New York City, there is a good argument for setting it a little later than 1908. The Masses, for instance, began publication in January 1911; and the great suffragist parades were staged in New York City in 1912 and Washington, D.C. in 1913 (with Inez Milholland on horseback). In 1908, however, the ideas, unrest, and hope for a better future that blazed out in the coming years were already stirring. To help me imagine what they felt and looked like from 1900 through World War I, I’ve just discovered a wonderful resource, The Modernist Journals Project from Brown University and The University of Tulsa. It supplied this iconic cover—and has complete digitized issues of several important magazines of the period. (more…)

Henri’s Jardin du Luxembourg

April 7, 2014

Tags: Henri, Paris landmark, gardens

After Jeanette completes Edward's portrait, they walk to the Luxembourg Garden. This painting of it by Robert Henri is reproduced in Barbara Weinberg’s book, The Lure of Paris:Nineteenth-Century American Painters and Their French Teachers (1991), my real introduction to the whole topic of an American woman studying art in Paris. Consequently, although the picture was painted twenty years after the action of my novel and in a later style, its vividness has been with me all along. (more…)

Salome

February 27, 2014

Tags: Henri, entertainment, work-in-progress

Robert Henri, Salome (1909)
As a follow-up to my last post, here’s a quick look ahead at naughty behavior in New York City in 1908, the setting for my current work-in-progress. I came across Robert Henri’s portrait of the dancer Mademoiselle Voclezca in a 1995 exhibition catalogue, Metropolitan Lives: The Ashcan Artists and Their New York. More astonishing to me than the painting were several paragraphs about a craze for “Salome dancers.” (more…)