Katherine Keenum

Blog Tip: For details of another image to help imagine night in an earlier era, see Eye Candy for Today: Paul Sandby gouache nocturne at Lines and Colors.

Mostly, I like to highlight lesser known women artists, but sometimes it's worth calling attention to a man. A post at GurneyJourney reminded me of Danish painter, Carl Vilhelm Holsøe. Holsøe's depictions of rooms are atmospheric interiors, a genre at which his generation of Scandinavian artists seems to have excelled. (Think Harriet Backer or Anna Ancher.) I didn't know about him when I was imagining Jeanette's "portraits without people," but his work illustrates the way a room can embody psychological insight.
 
Pictures of rooms are also a boon to historical-fiction and fantasy writers for the details they provide—in this case, a candle in the darkness. 21st C people have little idea how dark rooms really were before electric lights. Older stories in which characters are hidden in shadow become much more believable when you experience a black-out, or light a room with only a candle or two as an experiment, or, as here, see the effect in art.

To see this still life as part of a larger interior, click here.

For more of Holsøe's work, click here.

My website is hosted by the Author's Guild, which this month revamped its design templates, the better to fit cellphones and other screens. To celebrate the new, I'm posting a glimpse of the past. For a writer of historical fiction, a magazine cover from the year about which she is writing, which itself illustrates an earlier period, seems about right. Besides, I love textiles.

I don’t much like 19th C caricatures, but I love the punch drinker’s salute to William Shakespeare’s bust here. As you probably know, the play Twelfth Night was written by Shakespeare in the winter of 1601–1602 (the first recorded performance was on Candlemas Night,  Read More 

Blog post tip: James Gurney’s recent blog post on the Dutch portraitist Thérèse Schwartze, which includes photographs of her at work on this portrait, alerted me to a woman painter who studied in Paris in 1879 with Carolus-Duran’s associate Jean-Jacques Henner. They just keep turning up!

For more of Schwartze’s work, including portraits of the Dutch royal family, click here. Read More 

I generally avoid posting photographs because of copyright issues, but Roger Kidd kindly includes the acknowledgment he requires for a Creative Commons reuse, and I do love this picture as an emblem for writing fiction, for facing an uncertain future in the new year, and for the power of nature. The tree is magnificent, and, look, that green, green path leads over an unseen canal. What could be more out there and yet more mysterious? Read More 

My Christmas gift to myself this year was the exhibition catalogue for the show Berthe Morisot: Woman Impressionist, which is at the Barnes Foundation in Philadelphia until January 14, 2019. From there it will travel to the Dallas Museum of Art and on to the Musée d’Orsay in Paris. If you can, go see it!  Read More 

An Edwardian Christmas by John S. Goodall is a gentle treat, an indulgence in nostalgia that can surely be forgiven in unsettling times. I bought a used copy a few years ago and happily turn its wordless pages every December.

For this and other images from the book, click here.

And Merry Christmas! Read More 

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 

Website alert: The American Antiquarian Society has posted a digitized version of a recent donation—a copy of the first illustrated, book-length edition of Clement Moore’s poem, A Visit from Saint Nicholas, published in 1848. The interior of the house is depicted as furnished more sparely than we have grown accustomed to seeing it, and the Santa Claus clearly predates the Norman Rockwell—Coca-Cola version! I wonder whether looking at this version might prompt a 21st C writer to a new response to the old favorite? Read More