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Picturing a World

Beatrice Baxter Ruyl

I love illustrated books, which in today’s world largely means children’s books. This combination of text and illustration from 1909 is by Beatrice Baxter Ruyl (who posed for photographer Gertrude Käsebier’s picture The Sketch). The children’s book pulp-fiction syndicate for  Read More 

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Käsebier’s Sketch

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 

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Gertrude Fiske

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 

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What makes this book so happy (3): Skill

West with the Night by Beryl Markham is the first title on Prevention’s list of 55 Happy Books Proven to Boost Your Mood. What a pleasure to be reminded of that  Read More 

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Breslau’s milliners

Louise Catherine Breslau was a star student at the Académie Julian at the time during which Where the Light Falls is set. She does not play a role in the novel, but it was like coming across an old friend  Read More 

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Beaury-Saurel’s cigarette

In the latter 19th C, polite society considered it a sign of shocking Bohemianism for women to smoke. Now we might not worry about the sitter’s morals, only her health. When Amélie Beaury-Saurel painted this picture, however, she probably meant it as  Read More 

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Scaffolding

Barriers to training and opportunity, and sheer prejudice are correctly cited as having held back women in the arts in the past (and now!). For painters, male and female, moreover, there was the cost of materials. Even easel-sized canvasses had to be paid for, as did pigments, brushes, props, and solvents. When I saw this image recently in a Gurney Journey blog post, it struck me that the sheer size of the support and apparatus required to produce a very large work meant that independent wealth, prior success, or an institutional commission was necessary before an artist could undertake the sort of grand works that won prestige in the 19th C. Poets and fiction writers were at an advantage when they could scribble away with no more investment than the cost of paper and pen. My main point, however, is that in visualizing a world for fiction, it’s the unexpected detail—like Detaille’s scaffolding—that can provide verisimilitude and possibly a plot twist. Read More 

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Wegmann and Bauch

Blog tip: This is one of around twenty portraits of Swedish artist Jeanna Bauck by her Danish friend Bertha Wegmann, who reciprocated with several portraits of Bauck. It appeared recently at a Gurney Journey post, one of several on artists painting each other’s portraits. What strikes me as a writer is the challenge in Bauck’s eye, her fashionable dress, the thoughtful touch of the eyeglasses to the mouth. What a lot the portrait could suggest for a fictional character!  Read More 

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Abbéma panels at Félix

What fun! An article, Paris Dressmakers, in the December 1894 issue of Strand Magazine reports on the fashion salon of the couturier known as M. Félix: “A gallery leading from the first salon to a second has four large panels, painted by Louise Abbéma, representing Sarah Bernhardt in ‘Ruy Blas,’ Croizette in the ‘Caprices of Marianne,’ Ada Rehan in the ‘School for Scandal,’ and a fancy costume of the period of Louis XV.” Read More 

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