And now back to school! Early in my research on women’s art education, I Read More
Picturing a World
In the latter 19th C, polite society considered it a sign of shocking Bohemianism for women to smoke. Now we might not worry about the sitter’s morals, only her health. When Amélie Beaury-Saurel painted this picture, however, she probably meant it as 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
Blog tip: This is one of around twenty portraits of Swedish artist Jeanna Bauck by her Danish friend Bertha Wegmann, who reciprocated with several portraits of Bauck. It appeared recently at a Gurney Journey post, one of several on artists painting each other’s portraits. What strikes me as a writer is the challenge in Bauck’s eye, her fashionable dress, the thoughtful touch of the eyeglasses to the mouth. What a lot the portrait could suggest for a fictional character! Read More
What fun! An article, Paris Dressmakers, in the December 1894 issue of Strand Magazine reports on the fashion salon of the couturier known as M. Félix: “A gallery leading from the first salon to a second has four large panels, painted by Louise Abbéma, representing Sarah Bernhardt in ‘Ruy Blas,’ Croizette in the ‘Caprices of Marianne,’ Ada Rehan in the ‘School for Scandal,’ and a fancy costume of the period of Louis XV.” Read More
Website tip: Is it one of Jeanette’s Portraits without People or simply a painting of an interior? Either way, it’s a pleasure to be introduced to Mary Dawson Holmes Elwell—an artist who married a man twice her age, had a happy marriage (he supported her art), and after his death married the artist Frederick Elwell. Read all about it here.
Via Lines and Colors. Read More
Website tip: A woman artist depicting the women’s suffrage movement—what could fit my interests better? You, too, may find Theresa Bernstein website from the CUNY Graduate Center and Baruch College a rich source of images and inspiration. Bernstein’s career covered the entire 20th C, and the website has images of her artwork (including sketchbooks) along with a bibliography of her writing.
Happy Fourth of July—and happy voting! Read More
It has to be said of Félix Bracquemond, that although he was a domestic tyrant who stymied his wife’s career in the end, he also taught her well. Best known now for his etchings, he taught her printmaking techniques which she put to exquisite use as in this portrait of her sister, Louise Quivoron. There is no reason to deny that men have cramped women’s careers, but it might be an interesting challenge to write a novel about a marriage that simultaneously expands a woman’s capacities while constraining her ability to pursue an independent career. And what would her sister be like? What would be her role? 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