Prouvé was as new to me as she was. The best article about him turned up by a quick Google search is Victor Prouvé : un artiste transversal (in French). Read More
Picturing a World
Romani follow-up
Prouvé was as new to me as she was. The best article about him turned up by a quick Google search is Victor Prouvé : un artiste transversal (in French). Read More
Juana Romani
Sarah Stilwell Weber
For more about Weber, click here and here. Read More
Female comic book illustrators
Sisterhood and creativity
First, sisterhood: Reports on the Women’s March redux is enheartening. In the era of #MeToo, it’s good to focus on women’s worth—enlightened male companions welcome. We must also remember that it’s not just sexual predation that is an issue. I was interested to read in the January 12, 2018, Guardian, that “[a]fter 2017’s Cambridge Companion to Irish Poets included only four women, 250 writers have agreed to boycott anthologies, conferences and festivals where women are not fairly represented.” Read More
Pre-Raphaelite women artists
People and animals
For the full on-line edition of Old French Fairy Tales with Sterrett's illustrations, click here. Read More
American Women Artists: 1860–1960
Elizabeth O'Neill Verner
What we see is partly a result of what we are taught to see. Elizabeth O'Neill Verner must have encountered the kind of 19th C paintings of flower sellers that have been the topic at It’s About Time in recent weeks. My guess is that familiarity with the motif contributed to her noticing and championing the flower sellers and basket weavers in her own town of Charleston, S.C. A move was afoot in the early 20th C to have these African-American vendors banned from the street, but Verner led the effort Read More
Asta Nørregaard
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