Romaine Brooks was a cosmopolitan whose circle in Paris and elsewhere included several of the personalities and topics covered in the books that James has listed in his bog. Anyone interested in Romaine and her circle will find much for thought in these selections.
In keeping with a theme, this – a look ahead at books of a Strange Flowers flavour coming out this year – was going to be “17 books for 2017”. But so many interesting titles have gathered on the horizon that I had to abandon the conceit altogether. Here, then, is a metric shitload of books for 2017.
It is a year in which the news already resembles dystopian fiction, so might books like Giorgio De Maria’s The Twenty Days of Turin tell us how it all ends? Originally published in Italian in 1977, this grim parallel parable draws on the occult allure of Turin, and features mysterious outbreaks of savagery and intimate thoughts being communicated “across the ether” (cf. right now). Thanks to translator Ramon Glazov it is now finally available in English. Joining it in a violent speculative realm is China Miéville’s The Last Days of New…
An art historian’s work it seems is never done. One of the great joys of spending more than half your life in the dust bins of history is discovering something new and then being able to bring that find before the public. Few art historians much less one who is also a painter, poet and arts critic such as myself can hope to achieve in a lifetime.
Being able to add lost work to an artist career is rare but Romaine herself led me to the discovery of an early work by her hidden in plain sight in the music room of the Vittoriale Foundation in Gardone Riviera, Italy. The backstory is fascinating.
According to Romaine Brooks she never laid aside her brushes. In her audio interview from 1968 she was dismayed that McAvoy had painted her in a background that show her with dried up brushes and a pallet. She said emphatically that he had not shown her glass table that she used as a pallet which implied that she was not painting any more. By implication this suggest that she was still actively making act at the time he painted her.
So for those of you reading Wiki I am in the process of updating the errors in it. It is a work in progress. It was her intention to paint him but he never was available long enough to sit for her. So she painted Duke Umberto Strozzi at the age of 87 in 1961.
The performance artist Claude Cahun contended that lesbianism “occurs with special frequency in women of high intelligence.” Absolutely, when it came to what she called an “aristocracy of taste, few could equal Romaine Brooks. This contention is amply borne out by the Smithsonian American Art Museum’s current retrospective of Romaine Brooks’s paintings and drawings on view until October 2, 2016.
The first Romaine Brooks solo exhibition in over 16 years opens at the Smithsonian American Art Museum in Washington, D.C. on the 17th of June. Most viewers remain unaware of what goes into researching, organizing, and putting on an exhibition. So somewhat like Dorothy’s dog Toto in the film the Wizard of Oz let me pull the curtain back to reveal one aspect of what goes into making it all happen: art conservation.
As a graduate student at the Institute of Fine Arts in NYC in 1968 I first became acquainted with this subtle art through the pioneering pair of art restorers, Sheldon and Caroline Keck. At the time, like many young art historians today, I had no idea what went into restoring a painting. Sheldon Keck died in 1993 but not before he and Caroline set up the first conservation school in the country. They taught students how to remove accumulated grime, discolored varnish and other signs of wear and tear from paintings, restoring them to their original beauty.
The art of a sensitive conservator is a miraculous thing. At the Smithsonian Tiarna Doherty’s sensitive insights into the art of Romaine Brooks have contributed immeasurably to this exhibition and our knowledge of Romaine Brooks as a skilled painter.
Tiarna will give two gallery talks this summer: the first on Tuesday June 21st at 4 p.m. and the second on Monday August 15 at noon. She will highlight the paintings of Romaine Brooks with an in-depth look at how conservators work to preserve an artist’s intended effects. This is a must see for artists and lovers of art worldwide who want to really appreciate this great painter.
My book devotes a considerable number of words regarding how to look at, see and experience a Brooks painting to get the fullest possible pleasure from it. Happy viewing. The show will run through the end of September.
Speaking engagements can be arranged by request. At events, signed copies of the book will be available for purchase, please contact U of Wisconsin Press or myself.
Peter, a young English girl in actuality is the Jewish English lesbian painter known as Gluck. They were rivals and although Romaine completed the stunning portrait of Gluck as per their arrangement for an exchange Gluck never completed hers. We only know of the unfinished painting through photographs.
The exhibition opens in Washington, DC on June 17th where Romaine will finally be returned to the pantheon of American painting where she belongs.
I shall be kicking off the panel from 4-7pm covering Romaine’s art and life along with my sister panelists. Please come, it is free and open to the public. My book serves as the catalogue and more for this exhibition.
Harmony and cacophony were elements that concerned Romaine Brooks all her life.
“Paris”, as Audrey Hepburn, famously said, “is always a good idea”.
What is most remarkable about Romaine Brooks and her friends is that their generous patronage of writers, poets, musicians, artists, designers and performers made a vibrant cultural scene possible because of their inherited wealth.
From an early age Brooks had a heightened awareness of pattern and decoration, and how objects came together in space. Her aesthetics extend into the realm of both her surroundings, as well as her clothing and art as manifestations of her philosophy. Brooks lived through her eyes and ears. She was fully engaged with the crisis of modernity albeit from a conservative and classicist position which, has been widely misunderstood.
At the age of 14 after returning to the sprawling Chateau Grimaldi that her mother had purchased, Brooks found the flocked wallpaper and elaborate furniture of the rooms her mother had allocated to her intolerable.
She complained that the décor gave her migraines and created a relentlessly screaming sensation in her skull.
Her solution was to cover the baroque patterned walls with gray paper, abolish the elaborately carved, gilded and upholstered chairs and other furniture and replaced them with simple oak tables and comfortable chairs. Creating harmonious modern spaces became a life-long obsession with her that she extended even to her first exhibition in 1910, wherein she covered the walls with a neutral colored material that allowed her paintings to show their individual character.
Throughout her long life she orchestrated her interiors and those of the friends who asked her to decorate their flats as meticulously as she styled her clothing and executed her portraits.
I am so pleased to be selected by both pop culture sites AfterEllen and Velvetpak media for my book Romaine Brooks: A Life
2015: The Year in Lesbian/Bi Books
By Marcie Bianco on December 29, 2015
Cassandra Langer dives into the salacious life of one of our favorite queer women of modernism, in Romaine Brooks: A Life (University of Wisconsin Press).
In June, the University of Wisconsin Press will publish another book about Romaine Brooks. She plays a supporting role in the erotic novel Women Lovers or The Third Woman. This is a translation from the French by Chelsea Ray of a highly charged erotic novel written by Natalie Barney (and never published) that alludes to two entwined triangles involving Natalie, Romaine Brooks and Lily de Gramont as a stable and consistent household and Natalie, Baroness Mimi Franchetti and French courtesan Liane de Pougy that I reference in my biography of Brooks. This was only one of the challenges Romaine faced over her fifty plus year relationship with Natalie.
I’d also like to make my readers aware of my thesis that Romaine Brooks could be very much a social butterfly when it suited her. I recently was made aware of a party thrown in 1936 by Glenway Westcott and George Platt Lynes for Leonore Fini and Romaine Goddard Brooks on November 21st, 1936. This was a very chic evening party. After, Muriel King and Romaine came to dinner, and the guests included the culturati of New York and Europe; Joella and Julien Levy, Erika and Klaus Mann, Mina Curtiss and Lincoln Kirstein.
This is from Monroe Wheeler’s journal, which he ends by saying it was “our most successful party of the year, thanks to the beautifully dressed ladies.” Another testimony to Romaine’s taste and style as well as her social flare and popularity. He certainly refutes previous biographers who seem stuck on their distorted representations of her as a gloomy, anti-social reclusive.
I never thought Natalie Barney would have fallen in love with the person described by most of these other writers. Moreover, in my research I found that, Romaine had a great sense of humor and loved to dance the night away in Capri, Paris, New York and London as a young woman.
She was born in 1874-so you do the math. She remained vital and full of life in her sixties as several of her friends noted and she was hot to trot at the clubs in Harlem during her visit to New York in the 1930s when she painted portraits of Carl Van Vechten and Muriel Draper. Her style was impeccable as this terrible reproduction of a sculpture of her by Orloff proves.
A terrific and timely interview with me in Ms. Magazine by Mary Meriam.
Sexual politics are alive and flourishing in the GOP presidential race and in the current debates regarding Hillary Clinton’s qualifications for the office. So having independent women like Romaine Brooks and her circle, having their say about real women’s lives and creativity is a blessing.
Romaine’s circle of women and lesbians forged their own notions of a room of one’s own, in their case several houses and shared households, as well as space to spread their creative wings wide. Their notions of how to live authentic lives are much more contemporary than they have previously been given credit for.
Not everyone will want to emulate their lifestyle, but we have to give them full credit for demanding one given the limitations placed on women during the interwar period and beyond.