Blog post alert: Charley Parker's Lines and Colors strikes again and introduces me to British female artist contemporary with Jeanette— Jessica Hayllar—a painter who depicted those quiet interiors, "portraits without people." You can find more paintings by her here. To me as a storyteller, they suggest either a quiet harbor to retreat to, or a world about to be disrupted.
Picturing a World
Yesterday, I attended an absorbing webinar on Boston artist Sarah Gooll Putnam. Every aspect of the topic interested me (see below), and I hope it will be posted to YouTube as planned. For this blog, it introduces one more excellent, little-known woman artist. Putnam was a successful portraitist in Boston elite circles, painting in a style reminiscent of John Singer Sargent and Cecilia Beaux.
An even bigger Wow! for the historical novelist are her voluminous diaries now digitized at the Massachusetts Historical Society. In them, she recorded daily events, illustrated her entries with drawings, and supplemented them with clippings and other memorabilia. If you have a hankering to undertake a story set in Boston in the latter quarter of the 19th C or early 20th, don't miss these.
Blog post alert: In 2020, Drēma Drudge, author of a lively blog about fiction and art, published a novel, Victorine with Fleur-de-Lis Press, which brings out first books by writers who have been featured in The Louisville Review. This historical novel is based on the life of Victorine Meurent, one of Édouard Manet's models who was a painter herself. All the arts are now and always have been hard, but they are more than deeply rewarding—they are necessary. Thanks, Drema, for reminding us of the stories hidden in the past and for keeping them alive through your own creativity today.
In this strange time of waiting for the final election results, of coping with next phase of COVID-19, of wondering what comes next, I reviewed some old files of images and found this one by Canadian artist Kristin Bjornerud, which I had taken from Terri Windling's Art, activisim, and the soil we grow in. Sometimes untranslatable pictures seem to sum things up! (Or maybe you see a story here?)
In an unpublished diary from 1901, written by a graduating senior of Chattanooga (Tenn.) High School, a girl named Dorothy records a week spent on Walden's Ridge visiting well-to-do friends whose families had summer homes above the heat of the city. A search for illustrative images led me to this atmospheric watercolor of Lookout Mountain (on the other side of the valley, but, hey!). Also to the artist, Emma Bell Miles. An educated woman who had studied art a writer, a poet, and a naturalist, she married a laborer on Walden's Ridge. Their life was hard. For anyone seeking to write historical fiction that encompasses the whole society of Walden's Ridge, her diary and her work are invaluable. And she's a reminder to researchers: Follow those tangents! They may lead to great discoveries.
I'm reading The Fairest of Them All by Maria Tater (2020), and naturally the first thing I did was look at all the pictures. The blue-and-white vase in this one caught my eye because I have a friend who is an expert on blue-and-white china. It amuses us both to come across it in odd contexts—in this case, a picture of Snow White's stepmother by Katharine Cameron from Louey Chisholm's In Fairyland (1904). That date for a children's book puts it squarely in my character Mattie's world, and Cameron just might be someone for Amy Richardson to know if I decide to follow Amy's story.
Blog post alert: For those of us still self-isolating at home, the excuse for an occasional ride through the countryside is welcome. Also always welcome to me: discovery of a new artist contemporary to Jeanette! In this case, check out Mildred Anne Butler (1858–1941), via GurneyJourney.
Another Jennings blog alert: What did I tell you? Kathleen Jennings' Tanaudel blog is always worth looking at. I love her post this week on Inkblots as creative stimuli. You wouldn't even have to be as good an artist as she is to make blots, doodle pictures, and then string a few together to make a story—at least as an exercise. (Though, let's be honest, some of us might want to keep the results private instead of giving them to the world!)
During Massachusetts' stay-at-home order, I have been sorting family papers and came across these two vibrant, witty little watercolors by Knoxville artist, Mary Etta Grainger (1880–1963). I knew they were souvenirs from a bridge party; but, not being a bridge player myself, I did not know what to call them. A little poking around on the web introduced me to "bridge tallies." They are like dance cards. At a bridge party, guests sign each other's cards to assure a rotation at different tables. Sets of printed tallies were all the rage in the 1920's, and you can see scads of them at the Laura M. Mueller Bridge Tally Card Collection. But how much more delicious to receive a unique, individualized card!
Oh, serendipity! A recent letter to the editor of the Berkshire Eagle about windows at the First Church of Christ (Congregational) in Pittsfield, Mass., reminded me of Clara Miller Burd, one of the women artists who designed stained glass for Tiffany & Co. Burd was also a children's illustrator, and a search for images of her work turned up examples at a site that features another of my enthusiasms, jigsaw puzzles (yea!)—and to the Children's Art page of the Lucas Museum of Narrative Art. Wouldn't I love to visit that wonderful, futuristic building when it's done. Well, closer to my home is the Norman Rockwell Museum, which has featured article about a Burd magazine cover at its website. We all want to get back to physical, three-dimensional life when it's safe, but meanwhile, the internet does make armchair exploration easy.