Katherine Keenum

Blog post alert: The archive of the now defunct blog for Firestone Library's Graphic Arts Collection at Princeton University has a post on Color separation for Scribner's Magazine 1905. Anyone seriously interested in the techniques used would have to search further, but its a good quick look at how colored illustrations were produced for magazines at the turn of the 20th C—including this shopper by Walter Jack Duncan for H. G. Dwight's article, "An Impressionist's New York," in Scribner's (November 1905). And by the way, doesn't she add panache to a gloomy November day?

In Cézanne's Watercolors: Between Drawing and Painting by Matthew Simms, I was astonished to read that a single sheet has this gorgeous, limpid still life on one side and the beckoning woodland on the other. Can you imagine owning something like that?

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Blog post alert: It's always fun to run into something that combines your interests—for me, in this case, Huguenot fan makers. For reasons of family history, I've been paying attention to Huguenots lately. Fans as part of fashion is a natural for a writer of historical fiction. Characters in Where the Light Falls carry fans, and artists' fans were part of the 1879 Impressionist show they visit. Here Gauguin follows his predecessors' lead. For more examples of artists' fans, see Fan Club: painted fans in European art 1 and Fan Club: painted fans in European art 2.

A tip from James Gurney on the release of high-resolution images by the Chicago Art Institute led me back to this 1877 painting by Monet. It was in my mind when I wrote Jeanette and Effie’s arrival in  Read More 

Blog post tip: Stone Yard in a post on Marie Cazin at Beside the Easel brought touch and texture to mind: this is an easier sense to put into words than smell—though wouldn’t it be good to capture the smell as well as the feel of rough-cut stone in the sun? Read More 

On Sunday, I attended the opening lecture for a new exhibition at the Clark Art Institute, The Impressionist Line: From Degas to Toulouse-Lautrec, which examines works drawn or printed on paper. The show runs through January 1, 2018, with several talks and activities  Read More 

Sunrise, 7:35 AM, November 13, 1872. Claude Monet dashes off his impression of the red sun over misty Le Havre harbor. Yes, no, exactly? Exactly, say researchers Donald Olson, a professor of astrophysics at Texas State University and Géraldine Lefebre, a curator at the Musée d'Art Moderne Aldreé Malraux in Le Havre. For more about their calculations, click here. Does it matter? Not a whit. Is it fun? Well, sure.

See also my earlier post, Impression: Sunrise. Read More 

As the entry on this painting at the Musée d’Orsay says, Monet painted it at an event connected with the 1878 World’s Fair—in fact, the occasion of the first public singing of La Marseillaise since the fall of the Second Empire and rise of the Third Republic. Nevertheless, it is often associated with Bastille Day (July 14th), so why not show it today? Liberté, Egalité, Fraternité!

In Where the Light Falls, Jeanette, Effie, and Edward see the painting at the 4th Impressionist Show. It also interests me because it has so clearly influenced Childe Hassam’s views of flag-draped streets in New York, e.g., The Fourth of July, 1916, or indeed, Paris in his July Fourteenth, Rue Daunou of 1910.

Just for the fun of it, click here for the stirring rendition of La Marseillaise in the greatest B-movie of them all, Casablanca (the song begins at minute 1.08). Read More 

While I was writing, the concept of "the male gaze” seemed more pertinent to feminist art history than to my novel. What made me chortle gleefully when I first saw At the Café by Forain was not the trio of repellent oglers, but that blue dress on the Parisiénne. Wouldn’t Jeanette love to see herself in it! Wouldn’t she love the hat! Let’s face it, she might even have enjoyed attracting the notice of strangers (she does want to be a star). But surely not these strangers: Edward was right to be dubious about the milieu and the people depicted. Read More 

I had Jeanette and Edward react to Mary Cassatt’s Portrait of a Little Girl at the 4th Impressionist Exhibition for several reasons. First and obviously, it fell in with a focus on women painters. Second, the tilting of the picture plane, influenced by Japanese woodcuts, was an important upending of pictorial convention at the time, and I wanted to show how the older Edward could in some ways be more open to the avant-garde than a typical art student like Jeanette who was invested in the prevailing conventions at the very time they were about to fall. Read More