Before settling in to work on my fantasy novella this morning, I made the mistake of skimming the news. After that, I needed a better picture in my mind's eye, for sure, so I visited Terry Windling's Dartmoor Mythic Arts page, which, in turn, took me to Virginia Lee's home page and this mysterious landscape. I allowed myself to poke around at her website and found her illustrated edition of The Frog Bride by Antonia Barber, one of my favorite children's book authors. At Better World Books, I found a copy and ordered it. If you don't know that venue, its profits go to literacy programs, and it provides a carbon offset feature for shipping (at the grand cost of $0.04 in this case!). It's much more worth supporting than the behemoth Amazon. Sales of used books do not profit authors (don't I know!), but they do help circulate work on the budgets that so many of us book lovers can afford.
Picturing a World
Sketches, studies, and unfinished work of any kind have an appealing immediacy. They are good for characterizing artists, and good reminders that rough drafts, false starts, and revision are all part of writing any sort of story. Cecilia Beaux's autobiography, Background with Figures, was a key source for me when I was researching Where the Light Falls. Wouldn't I have loved to have this image then! For anyone who wants a quick look at Beaux and the Breton art scene, the blog my daily art display has a good post on Beaux in Concarneau, the summer of 1888.
I'm always on the lookout for images that reveal something about the life of Parisian artists' models. Bertha Newcombe was an English suffragist, who studied at the Académie Colarrossi in Paris. Here, her woman's-eye sketch of the end of a day captures how tired the hardworking her fellow art students were and how matter-of-fact the model was in putting her clothes back on. More of Newcombe's work can be found at Wikipedia Commons, including a nifty women's suffrage poster.
I was looking for a seasonal image and found this “Christmas gifts” issue of Vogue for 1918. A hundred years later, it reminds us of the joyous and tattered end of World War I. And it’s by an American woman artist! Helen Dryden. Born in Baltimore in 1882, she moved to New York in 1909 to sell artwork to magazines—just about the time that ANONYMITY’s Mattie would have known her. Perfect. Read More
In her introduction to the 2016 edition of The Left Hand of Darkness, Ursula K Le Guin says, “The artist deals with what cannot be said in words. The artist whose medium is fiction does this in words.”
Imagery, like music, can induce feelings as well as ideas; it conveys complex attitudes, multiple meanings. Through her painting, Nom kinnear king expresses what she explores in the only way she fully can. Trying to put it into words would be pointless.
And yet, for those of us who are inspired by art while we are writing fiction, a picture may suggest a plot line. It may offer a concrete detail for a scene. Or it may just as well go into the unconscious and work magic. Gretta, I think, is going to haunt me into winter. Read More
Although “Anonymity” is stalled at the moment (I’m writing an unrelated novella), images that belong to my heroine Mattie’s world draw me back into it. Both the beauty of this photograph and the earnestness of the artist would, I think, appeal to a wistfully idealistic side of Mattie. Although she works in the pulp end of publishing, she also fosters young talent and encourages writers and artists to strive for their best. Read More
Blog tip: It's almost too late to catch a show of Gertrude Fiske's work at the Portsmouth (N.H.) Historical Society, but James' Gurney's blog post at least introduced me to this accomplished painter. Doesn't this image invite musing on what the story might be?
For more of Fiske's work, click here. Read More
And now back to school! Early in my research on women’s art education, I Read More