Katherine Keenum

Website tip: As a follow-up to yesterday’s post Étienne Azambre, check out Gale Murray's review of the Women Artists in Paris, 1850–1900 exhibition in the on-line journal Nineteenth-Century Art Worldwide. Along with many other images, it contains Goeneutte’s 1892 painting of Desboutin and his male friends in front of the same fresco at the Louvre that  Read More 

Correction: Thanks to a reader, Daisy, I am happy (but embarrassed) to correct a blooper: Azambre was male, not female. Luckily I didn't say anything stupid about "the female gaze" in this post; and the suggestion that the religious wing of commercial art might be useful to fiction stands. Thanks again, Daisy!

 

 At a lecture in advance of the Clark Art Institute’s upcoming show, Women Artists in Paris, 1850–1900 (June 9–Spetember 3, 2018) I learned about this painting by Étienne Azambre (1859–1933). Azambre was an almost exact contemporary of the real Jeanette and studied at the Académie Julian from 1879 to 1882 in the studio of Adolphe William Bouguereau and Tony Robert-Fleury, where I place my fictional Jeanette. Wish I had known about her in time! Read More 

Website tip: In Framing "Christina's World" by Andrew Wyeth, Peter Perez of MoMA discusses how he chose wood and design to reframe a masterpiece.

Monterey was not one of the summer artists’ colonies that I had studied when news of a 2006 exhibition, Artists at Continent’s End: The Monterey Peninsula Art Colony, 1875-1907, set me wondering whether Jeanette might go there at some point in her life.  Read More 

Yesterday's image of women gilders reminded me of the cut-outs I made after reading Anthea Callen’s chapter, “Framing the Debate,” in her indispensable book  Read More 

Blog tip: This French image of women workers gilding picture frames is reposted from a post on women in the picture framing business in England at The Frame Blog. Frames were expensive, which is why  Read More