Katherine Keenum

This week, for fantasy work-in-progress, I wondered how—or whether—a couple of characters should be shod for a summer spent on foot. I've borrowed the banner title from Shoes in the Middle Ages because I love seeing its example of bare feet and a possible shoe. It was one of a handful of websites I looked at for the lazy author's approach to research. Two others were Medieval Shoes and Pattens and Cordwainer, Shoemaker, Cobbler?

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Blog alert: While chasing around for links to Angela Thirkell and WWII, I came across a post on her pre-novel, Pomfret Towers at the blog, Clothes in Books. The site is new to me and what a find! Good for readers and authors alike. The photo shown here appears in the post to illustrate the apricot-silk-lined rabbit-fur cape given to shy Alice Barton by her mother to give her confidence on her first ever weekend away from home alone at a house party. To help visualize it from the front, click here. And for a write-up of the novel with images of various covers for it, click here.

A collection of drawings in the Guardian—Unseen illustrations show the genius of Biba's Barbara Hulanicki —said to me, Wow! the Sixties! Fashion! The look was familiar, though I admit neither Biba nor Barbara Hulanicki was. Anyone who wants to set a story in the glamorous side of the Sixties or Seventies should make a montage of her drawings as a mood prompt. See also the Victoria and Albert's Biba for actual clothes photographs of the store and 'From A to Biba' by Barbara Hulanicki for an excerpt from Hulanicki's autobiography.

As a follow-up to my previous post on a Corset sculptor, how about a Japonisme corset ad? In an e-mail, scholar Christine Guth immediately recognized these "Three Little Maids from School" from the Gilbert and Sullivan opera, The Mikado, first performed in 1885. The Digital Commonwealth site where I found it has three other corset ads of the same period with Japonisme motifs. Which leads me to think the commercial artist I proposed as a fictional heroine might be a serious fine artist who has been influenced by Japanese art. As she struggles to find a footing in the world of galleries, she supports herself by supplying pictures to a printer who turns out calendars and advertising cards. If I decide to go with that idea, there's lots to explore!

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Television advertisements often involve short narratives. Print ads can carry implicit stories, too. This one for Thomson's Glove Fitting Corset is full of delicious details for an imaginary 19th C female artist. The window overlooking rooftops, the geranium on the sill, the rough wooden wall, the propped-up canvas on the left. Ah, Bohemia. But the fancy overhead lamp, the potted plant, the bow at the artist's neck, her hair: Ah, fashion. And the circlet with a crescent moon on the sculpture's head: Diana! What to make of it all?

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A History Blog post, Diana Cecil's lips restored to former thin splendor, concerns the restoration of a 1634 portrait of Diana Cecil. What struck me most, however, was this earlier portrait by William Larkin. Just look at those textiles! We live in an age of conspicuous consumption, no doubt about it; but our fashionistas can't begin to compete with the luxurious attire of the Renaissance. Display was the whole point.

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Blog post alert: The archive of the now defunct blog for Firestone Library's Graphic Arts Collection at Princeton University has a post on Color separation for Scribner's Magazine 1905. Anyone seriously interested in the techniques used would have to search further, but its a good quick look at how colored illustrations were produced for magazines at the turn of the 20th C—including this shopper by Walter Jack Duncan for H. G. Dwight's article, "An Impressionist's New York," in Scribner's (November 1905). And by the way, doesn't she add panache to a gloomy November day?

Is this a delicious scene, or what? The high life, for sure—including that androgynous figure on the right in spats with a lady's at his/her feet. I can imagine the picture's sparking any number of stories set in a park or one about the discovery of a talented relative's forgotten watercolor in an attic. The artist Thea Proctor is a certainly a discovery for me. (I love it that she painted fans.) I keep thinking, moreover, that the Australian art scene as a whole bears investigating. Learning Resources: Australian Impressionism would be a good place to start! And for more about Proctor, click here.

Okay, so not a female artist, but I couldn't resist William McGregor Paxton's portrait of a woman in a kimono contemplating a Japanese doll. (A female artist connection: the model may be his wife, painter Elizabeth Vaughan Okie.) What's useful to me in my musing on Japonisme as part of Jeanette's story is the way the picture can lead to thoughts about how a particular woman might react privately to a particular Japanese object. Is this Jeanette or one of her friends? Does the character hold a doll or teacup? What is the emotion aroused in her? in the reader? Looked at this way, there's no need worry about the Male Gaze or other scholoraly or critical criteria. As for the golden frame, well, of course, I had to include it when I took a screen shot!

Image via Sotheby's. 

Really, I have nothing to say about this print except, Wow! Look!
Image via Harvard Musuems