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.
Romaine Brooks: A Life is now in the pipeline and just awaiting copy editing. As the author, I must admit that it has been the journey of a lifetime. My take on Romain’s life and times is entirely new, based on fresh research coming out of France, as well as collections relating to her which other biographers may not have analyzed as closely as I have.
Networking across disciplines yielded fantastic connections that allowed for an unprecedented stage of fact-matching and checking. The process yielded a new and more fully nuanced reading of this fascinating woman’s artistic and daily life that was simply unavailable to earlier biographers, through no fault of their own.
Simply put, Romaine Brooks was not the psychologically challenged lesbian artist as which she has been portrayed by previous biographers.
My book paints a new — and, we now know, much more accurate — picture of her that refutes most of what has been written about Brooks and her art.
The new book also corrects many false impressions, most importantly that she was a fascist sympathizer and virulent anti-Semite. Reading her On The Hills Of Florence during the war and about the six years she and Natalie Barney (who was a quarter Jewish) makes her position as a conservative American living abroad much clearer than the simplistic and unexamined readings of her attitudes that have gone before.
All I can say is the evidence is now online from the Smithsonian institution for you to read for yourselves. What my book does is to contextualize this material in accord with Romaine’s life and choices to achieve a better understand her personality and thought processes.
Equally Intriguing is the true nature of her love life with Natalie Barney and her relationship to Lily de Gramont. I hope you will look forward to reading all about the fascinating Mrs. Brooks come 2015-16.
For those of you who will be in Washington November 20th I will be doing a talk for the Smithsonian fellows lunch time series at the Archives of American art. You are welcome to come at noon to the second floor conference room. Just present I’d and take the elevator to learn more about the Romaine we never knew and the missing works by her that we still need to rediscover and bring before the public. So stay tuned for more news.
I’ve just returned from listening to a long-lost analog recording of an interview with Romaine Brooks at age 94. What a fabulous experience! It’s in French, but is being transcribed in English through the generosity of another researcher, translator Suzanne Stroh. What an incredible thrill to finally hear Romaine’s voice! I now understand why she was celebrated for her speaking voice. She spoke French with what people said was a “charming American accent”, and it is perfectly clear that despite living in Europe — mainly France and Italy for most of her adult life — she always thought and titled her drawings in English in her notebooks.
In the interview, she was asked if she’d created drawings other than those that appeared in the 1968 issue of Bizarre — an issue devoted entirely to her with essays by Paul Morand, Eduard MacAvoy, Michel Desbrueres. She responded, “I’ve drawn throughout my life.” So, folks, where are the other drawings??? We only have access to a sampling from two periods of her lifelong output. Where are the rest??? We really don’t know. Did she destroy them? What would they have looked like? Was her style consistent? Much like Frida Kahlo, Brooks is on the threshold of a total reassessment. Who knows what works may still be out there?
Treasure hunters, unite. We need to ferret out her other works.
Here you see Lily de Gramont and Natalie Barney on their honeymoon at Niagara Falls, just prior to returning to France where they united with Romaine Brooks to form the stable three-way family of choice that lasted until Lily’s death in 1954. Who knew?! (Romaine Brooks: A Life tells all!)
FYI: I will be on a panel at the International Biography Conference to present new information on Romaine Brooks that will turn Romaine Brooks studies on their head.
People keep asking me about my forthcoming Romaine Brooks book. I am doing some tweaks in light of startling new information about her personal relationships that came to light while I was working to determine the proper copyrights issues.
My book contrasts Brooks’ work with the political, social, and interpersonal environment within which Brooks painted, whether during war, while living separately, in communal houses with her partners (who included Natalie Barney and Lily de Gramont), or during her prime years as a socialite in Paris. Romaine Brooks: A Life proceeds chronologically through Brooks’ works and the documented interactions with both her subjects and her peers to persuasively emphasize her struggles and change the current perception of Romaine Brooks. Here is the key to finally restoring Brooks to the history of American and International art that is her rightful place in the development of art. Although a conservative modernist in her chosen artistic style, content, and approach, she was decidedly modernist in that she documented a lesbian and bi-sexual subculture. She also applied a new musicality to her work, developing a unique approach to both monochromatic harmonies and tonal scale in her use of paint and its application to the canvas.
Recognition of Brooks for the originality and quality of her work, as well as for her courage in demanding to be seen, is long overdue. My book establishes once and for all how important and innovative her contributions to art were. I firmly believe that, had she not been a conservative modernist, expatriate, and sapphist-lesbian, she would not have been neglected as she has been. Much work remains to be done clarifying the details of Romaine’s life and art. It is my hope that a new and younger generation of scholars will take up the mantle where I have left off.
Much has been made of heterosexist models of relationships as applied to gay and lesbian lives. Recent publications have done a lot to overturn these stereotypes of gender and relational norms. With the marriage debates and LGBTQ rights, the focus has been mainly on gaining equal rights through heterosexist institutions. This may be one reason so many members of the LGBTQ community are signing on to the idea of marriage, aberrant as it may seem.
Romaine Brooks, Natalie Barney, and Lily de Gramont never signed on to the notion that women were somehow the property of men to use and abuse as they saw fit merely because they had the brute strength to subjugate women and possess them. Nor did they believe in laws that allowed men to oppress women. They believed women were superior to men and lived their lives in this belief.
Blue is the Warmest Color recently exploded off the screen, garnering a number of prizes and rave reviews. I just saw it and have to say it is a film that promised much and failed to deliver on these promises.
As a primer on lesbian sex, it’s fine for as far as it goes — which is not nearly far enough. It showcases a male perspective, with two women acting out a male notion of what lesbians do in bed. It’s not half bad, but it certainly in no way captures the true depth, playfulness, or sinuosities of lesbian love and sexual practices. It is shallow and surface despite all the huff and puff and penetration. What does come across is how focused on butt the film maker is. I wonder if he has been studying the nudes that artist Joan Semmel has been creating for the last 40 years or so.
Open, ongoing, multiple-partner relationships are what the trio above had. Committed, eternal, and flexible would best describe their interrelations. We need to realize that these three women did not have the right to vote, had more than enough money for multiple residences, and formed a unique series of linkages and entwined households during their lifetimes. This seriously impacts on how we relate to them and their times. I outline and flesh out more in my forthcoming book Romaine Brooks: A Life.
Hi, all! Just letting you know about a great online event put together by a colleague of mine. Please tune in for Suzanne’s site reopening on Thursday, October 31, 2013 at www.suzannestroh.com.
It’s a virtual party to celebrate the 137th birthday of expatriate arts patron Natalie Barney (1876-1972). A major reappraisal of Barney’s life and legacy is underway, led by the translation of Francesco Rapazzini’s biography of the woman Barney secretly married in 1918, author and sculptor Élisabeth de Gramont (1875-1954). Forty years after Barney’s death, her secret 1926 novel has finally been published in French. It details the household both women established with American painter Romaine Brooks (1874-1970).
Right now, my brain is burnt out. Just when I thought I had completed the manuscript for my forthcoming book, Romaine Brooks: A Life, I stumbled across a treasure trove of primary source documentation that is a game changer. The Chinese were right. I had always wished I could solve some vexing questions about Brooks’ last years because so many riddles still remained. Now that I have turned over the rock, I am entangled in what lies beneath. Tune in for more in the adventures of a scribbler.
You will have to be the judge, given the recent issue of GLReview that discusses the concept of camp and gives various definitions:
“The first duty in life is to be as artificial as possible.” Wilde
“Camp is [understood] not in terms of beauty, but in terms of the degree of artifice, of stylization.” Sontag
Sontag goes on to say that, “Camp sees everything in quotation marks.” She associates camp with performance, “being-as-playing-a-role,” and with the artificial: “It is the difference…between the thing as meaning something, anything, and the thing as pure artifice.”
Certainly Brooks qualifies as one of the first female dandies, and her creation of an artist-self falls into the category of the performative identity. Her paintings and interpretations of various new women, bisexuals, and internatonal metro-sexuals positions her as a radical modernist — albeit, as outlined in Romaine Brooks: A Life from the right rather than center or left. What could be more camp than her dramatic 1912 self-portrait or her stylized self-portrayal of 1923? This perhaps explains her enduring appeal across generations and various cultures.
This page is dedicated to the lesbian expatriate artist Romaine Goddard Brooks (1874-1970). Brooks was the epitome of style and could give most fashion designers today cards and spades when it comes to understated elegance. She designed her own man-tailored clothinge and made everything in her life according to her singular tastes.
I am going to be presenting a talk on Romaine’s relationship with adventurer, man of letters and womanizer, Gabriele d’Annunzio, on Saturday. This takes place in Las Vegas at the Women and Fascism panel of the Modern Studies Association. I was invited by author Barbara Wills whose recent book Unlikely Collaboration: Gertrude Stein, Bernard Fay, and the Vichy Dilemma has created a great stir among those devoted to feminist and queer studies, as well as among admirers of Stein’s modernism.
My own presentation deals with Romaine Brooks’ queer heroic portraits of women. I have written a couple of articles on these but this will be my first dedicated presentation detailing, however briefly, the connection between Romaine Brooks and Gabriele d’Annunzio and the impact that relationship had on her signature style.