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.
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.
Surfing the net is something I do randomly. It’s like a treasure hunt for me. You never know what people will post. One of my favorite sites is Strange Flowers, and it was there that I recently came across some images of Romaine Brooks from 1925 that I have never seen before so.
I am thinking of using one of them in my forthcoming biography of Brooks.
This year the Ballet Russe is on the scene celebrating its centennial. Ida Rubenstein, Romaine’s lover, was a star of the ballet who electrified Paris with her sensational performances. The triangle that emerged between Romaine, Gabriele D’Annunzio, and Ida was almost as spectacular as the opulent staging of the Ballet Russe’s Cleopatre and Scheherezade.
Brooks satirized the relationship by presenting D’Annunzio’s thwarted desires in this scathing parody after her breakup with D’Annunzio. Her revenge — she invited him to her studio to see the painting. We don’t know what transpired between the two of them; only that the friendship continued, albeit on a different basis, for the rest of their lives.
I go into this in much more depth and analysis in my forthcoming book, Romaine Brooks: A Life.
Hi, all, and welcome to the new CassandraLanger.com!
At last I have finished the draft manuscript for my Romaine Brooks book. I await editorial comments and am finalizing the manuscript to send to my agent. If all goes well, she will be pitching it in September. You can look forward to seeing the book sometime in 2015.
Upcoming will be my Barbara Hammer interview, which will be out in time for Barbara’s retrospective opening in September at the Museum of Modern Art in NYC. After New York that show will be traveling to other venues, including the Tate on the other side of the pond in London. I’ll follow that up with a piece on recently retired poet Laureate (2008-2010) Kay Ryan for The Gay & Lesbian Review. All in all, a lot of good and productive work!