It is gratifying to run across paintings (like Vollon’s Mound of Butter) that seem to jump right out of the world of my novel, but here’s one I wish I had seen while I was writing. What an engaging gaze!
The subject of Danish artist Bertha Wegmann’s portrait’—the Swedish-born Jeanna Bauck (1840–1926)—would have been Edward's contemporary rather than Jeanette’s, but fiction is fiction and inspiration is inspiration. She's not pretty but I can't take my eyes off her. I see good-humored mischief in her face and a downrightness that is very appealing. Whether she would have influenced how I characterized Jeanette or Amy, I don't know. Maybe she would have demanded a place of her own in the story.
For my earlier post on Bauck's equally fascinating painting of Wegmann, click here.
The subject of Danish artist Bertha Wegmann’s portrait’—the Swedish-born Jeanna Bauck (1840–1926)—would have been Edward's contemporary rather than Jeanette’s, but fiction is fiction and inspiration is inspiration. She's not pretty but I can't take my eyes off her. I see good-humored mischief in her face and a downrightness that is very appealing. Whether she would have influenced how I characterized Jeanette or Amy, I don't know. Maybe she would have demanded a place of her own in the story.
For my earlier post on Bauck's equally fascinating painting of Wegmann, click here.