Katherine Keenum

I think we can all agree that one of the saddest things about the current pandemic is the way it has forced children into isolation. Worse things than being cheated of graduation exercises can happen to teenagers; but for younger children to be cheated of grandparents and playmates? That's worrisome for their psychological future. Strange how we bring our preoccupations to looking at images. I think I would always have loved the way this little girl, held in by the fence, looks out at us. At another time, I might have related it to feminist concerns or formalist art-history observations on Morisot's technique. Now it seems somehow emblematic of summer 2020, even for the privileged few. Beautiful, potent, rueful.

Image via Art and Artists.

In these troubled times, gardens offer comfort and inspiration. Exploring the Museum Computer Network portal, I got to the Crocker Art Museum in Sacramento where where I found this painting by Theodore Wores. Wores, a San Franciscan who was influenced by James McNeill Whistler, went to Japan, learned the language, and brought Impressionist techniques to painting landscapes there. (Another example is his Street in Ikao.)

 

The Iris Flowers of Horikiri called to mind two things: First, the Asian-influenced garden, Innisfree, in Millbrook New York, where irises border a stream. Second, Natasha Pulley's Lost Future of Pepperharrow, most of which takes place in Japan in the 1890's and includes a Japanese estate with many gardens.

 

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As I said in my previous post, Marie Bracquemond’s husband, Félix, hurt as well as helped her artistically. Although they both exhibited at one or more of the eight Impressionist shows, she was, in fact, more receptive to the new esthetic than he was; and his criticisms could be choleric. He also  Read More 

The geraniums in this watercolor by Francis Hopkinson Smith caught my eye, as images of flowers in pots always do. It seems both obvious and also somehow wonderful that people have been growing flowers in clay pots ever since antiquity. In a place like Venice,  Read More 

Here in New England, mornings are getting too cool to eat breakfast on the porch; but before summer fades entirely, I was pleased to run across this painting at the always interesting Lines and Colors blog. It is an example of blogger Charley Parker’s feature, “Eye Candy for Today,” which demonstrates the value of looking at an art work bit by bit instead of always as an integrated whole. My interest in garden history has led me to peek into backgrounds of portraits and biblical paintings to catch glimpses of gardens in the past. For writers, realistic details spring out, e.g., the single blossom in a wine glass on the table in this picture. Read More 

While I was working on Where the Light Falls, my husband and I visited this mental hospital in Arles. The courtyard has been restored to look much as it did when van Gogh was a patient. The  Read More 

In the Bible, it is Mary Magdalene who first witnesses the Risen Christ (John 20:14–17). She mistakes for him a gardener until he reveals his true identity, whereupon he tells her not to touch him yet (“Noli me tangere” in the Vulgate Latin).  Read More 

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. Read More 

From the time I started writing, Sargent’s painting of a couple strolling in the Luxembourg Garden was a key image for me. Edward and Jeanette. The fountain. The fashion silhouette of the woman’s dress (no bustle). Touches of red. Light. Read More 

Garden history is one of my interests, and this image of the Château de Vaux-le-Vicomte shows the 17th C garden designed by the great André Le Nôtre that led to his being hired by Louis XIV to design the gardens at Versailles. It perfectly expresses the Baroque æsthetic that dominated French gardens for the next 150 years. By the last quarter of the 19th C, such formality had given way to the more naturalistic styles. In my novel, however, the Renicks take pleasure in having been able to restore their garden to its 18th C splendor. I visualized their garden as smaller than this but large even so and also shaded on the sides by trees grown old by the 1870’s.

During my research, I visited the Musée Rodin, which gave me an image of the back of the Renicks' house and allowed me to visualize a large garden in the heart of Paris. Read More