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.
Picturing a World
And now back to school! Early in my research on women’s art education, I Read More
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
I love the way this painting illustrates a young artist’s studio as a place to live. The plain floor and dormer window hint at upper-storey, cheap digs. I didn’t include potted plants in any of my characters’ studios, but they turn up in other paintings and would be part of making an Read More
In the 1882 catalogue, a few pictures seemed to leap out illustratively for Where the Light Falls. This one reminded me of Read More