I had never seen a reproduction of Kitty Kielland’s Paris Interior until I read the catalogue for Women Artists in Paris, 1850–1900. Now I can hardly wait to see it, first and foremost because it represents the life of a young woman artist, the life explored in Where the Light Falls. Second because I love pictures of views out windows (in fact, I love real views framed by real windows). And third because of the samovar. Read More
Picturing a World
Happy artistic marriage
June 7, 2018
At last! A woman artist who was not squelched by her husband, but treated as an equal. This painting depicts Anna Ancher and her husband, Michael Ancher, thoughtfully absorbed in critiquing a canvas together. Read More
Lunch at the Académie Julian
May 31, 2018
How I am looking forward to the upcoming exhibit, Women Artists in Paris, 1850–1900 at the Clark Art Institute! I am fond of saying that writing historical fiction forces a novelist to ask different questions from those of historians, even cultural historians. For instance, where did a woman Read More
“Christmas Time Again”
December 20, 2017
After running out of Christmas cards, I went today to the Bookloft in Great Barrington, an excellent independent bookstore, where there was one box left with cards showing the the right wing of this triptych. Lovely to discover that the piece dates to 1907 (so close to my magic year of 1908 as makes no difference) and then to find the whole on line where it can be enlarged. Read More
Asta Nørregaard
September 15, 2017
I saw this painting by the Norwegian painter Asta Nørregaard at an exhibition while I was researching Where the Light Falls. At the time, I was unable to find an image on line, but memory of it influenced how I imagined Jeanette’s first studio of her own. Its spareness and gray walls, in contrast to the lusher studios so often depicted during this period, seemed specially appropriate to Jeanette’s pocketbook and her mood at that point in the novel. At the time I was writing, I thought that it was Cousin Effie’s love of Whistler’s decorative schemes at the Paris Exposition Universelle of 1878 that made her to want to paint the walls yellow; I suspect now that the colors in this painting also subtly influenced my imagination of how the two characters would react to a studio space. Read More
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Anna Ancher’s flower arrangers
August 3, 2017
Blog tip: At It’s About Time Barbara Wells Sarudy has been posting a series of paintings under the title of “Arranging Flowers around the Globe.” This one by Anna Ancher is clearly a study, not a finished work (note that the artist did not sign it). Artists can treasure each other’s studies, and collectors often like to own them. (Not so likely for first drafts of short stories and novels!) Read More
National Museum of Stockholm
June 7, 2017
Blog alert! The June 6th post at the invaluable Line and Colors blog announces a Treasure trove of high-res images from Nationalmuseum Stockholm and gives instructions on how to explore it. After visiting the sight, I chose this image by Anders Zorn because Read More
Calm waters
March 17, 2017
Surfing on the net (not the sea!) landed me yesterday at a sale at Christie’s, where this painting was up for auction. It’s just the sort of thing I had in mind for Charlie Post’s obsessively pursued subject of sea, horizon, and shore. Read More
Fanny Brate—Another one lost to marriage
February 8, 2017
In Where the Light Falls, Amy points out bitterly to Jeanette that marriage means the end of a woman’s career in art. So it was for Fanny Brate (1861–1940), a Swedish painter who entered the Royal Swedish Academy of Art in 1880 and Read More
Florence Fuller
August 29, 2016
Terri Windling’s Myth & Moor is a great source of inspiration for writers, readers, and lovers of images related to the mythopoeia. Her August 26th post on Children, reading, and Tough Magic is trove of pictures of children reading and quotations on the value of fantasy stories. It also brought my attention another of Jeanette’s younger contemporaries who studied at the Académie Julian—Florence Fuller (1867–1946). Born in South Africa, Fuller is classed as an Australian artist; for although she studied in Paris and spent time in England and India, she grew up in Australia and her most productive years were spent there. Her work is collected primarily in Australian museums. In 1905, she became a Theosophist, a reminder to me that the occult was a part of the world around my heroines Jeanette and Mattie (though not, I think, of much interest to either of them). Read More