Did she stop painting?

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.

MACAVOY_tab10_romaine-brooks

A Banner Year For Romaine

Wishing each and every one of you Brooks fans a very happy holiday and a good New Year. Let’s lift a glass to our girl.

2015 has been a banner year for all things Romaine. After 40 plus years of on and off energy devoted to rediscovering the real Romaine Brooks my new book completely revises how the artist and woman is seen. I count myself very happy to finally see this critical biography in print. Be sure to catch our recent panel of November 12 on the Leslie Lohman Museum in New York City web site.

Romaine Brooks - Book
University of Wisconsin Press

As an added bonus a spectacular show of Romaine Brooks’s work opened on my birthday, December 18,  at the Fortuny Museum in Venice, Italy. It is a groundbreaking showcasing her many faceted talents as a world class  artist, designer and stylist. All points my new book  Romaine Brooks: A Life highlights.  I am happy to report that the show has been so successful that its run has been extended past its original closing date. More good news is that the catalog is being translated from the Italian into English.

Put June 10, 2016 on your calendar, when The Smithsonian American Art Museum in Washington, D.C. opens an exhibition of Romaine’s works from their collection. My biography will be available for purchase in their book store. So Brooks fans, let’s celebrate and keep these dates in mind for the coming year.


Nous Sommes Unis’, ‘We are One’

Romaine, Brooks, Natalie Barney and most especially Lily de Gramont would all be standing tall with France and saying give life a chance while defending Paris with all their hearts and might.

For those of us that stand for life, love and liberty today is a day of mourning for all the innocents who have been heartlessly killed by pure evil. The streets of Paris are running with blood.

There is absolutely no excuse for these murders. Anyone celebrating them is part of the problem, not the solution. For love of life, Nous Sommes Unis!NatalieImageProxyNLV8N5FE

For one and all
For one and all

Lily de Gramont

“I Am Alone and You Are With Her”

Romaine Brooks had a lifelong love affair with the storied isle of Capri. It began in the summer of 1898 when as a poor student she rented a cheap Gothic chapel to paint in, complete with a courtyard full of fig trees. She loved the island’s easygoing ways and swam daily in the sea off the rocks at the Bagno Timberino.

Sometime near the end of World War I, about a year after she and Natalie Barney became lovers, Romaine purchased the Villa Cercola in Capri. Foremost on her mind was escaping wartime and the sweltering heat of Paris summers, but she also needed to come to terms with the emotional storms she and Natalie were experiencing in settling their three-way marriage. She routinely visited the Roman ruins that brought so many tourists to the island. Naturally daring and athletic, she wasn’t daunted by the dangers that kept so many of them from swimming in the blue grotto.

Grotta d' Azur.

That made her even more conspicuous, for an arresting beauty who regularly attracted the attention of other women. Faith MacKenzie  (whom rumor has it Romaine bedded) wrote that “for the first time in my life I had met a woman so complete in herself and independent in her judgments that she could accept and reject people and things at will without guilt or hesitations.”

Lily de Gramont visited Romaine in the early 1920s and reported back to Natalie Barney that she enjoyed the view of Romaine sunning herself on the rocks, watched over by her current lover. Lily didn’t name names.

the rocks of Capri

But it was already a familiar picture for Natalie Barney. In 1920 Natalie, despite her various ongoing flings, took pen in hand to express both her jealousy and insecurity, writing Romaine:

“I am alone and you are with her. I know you have not bathed without everyone on the island desiring you—that they would follow the glimmer of your perfect form to the ends of the earth – yet can any of them but me so grasp the inner goddess, the real sense of your greatness?”[i]

To learn more about the fascinating life of Romaine Brooks order Romaine Brooks: A Life.

 :Langer, Cassandra (author).

Sept. 2015. 290p. illus. Univ. of Wisconsin, hardcover, $26.95 (9780299298609); Univ. of Wisconsin, e-book, $15.95 (9780299298630). 759.13.

REVIEW. First published August, 2015 (Booklist).

[i]. Natalie Clifford Barney to Romaine Brooks, July 21, 1920, Barney/Brooks Letters.

Plus ça change

Gay Marriage is nothing new. Almost 100 years ago in 1916 when Romaine Brooks became so famously involved with Natalie Barney she accepted the fact that the love of her life had been lovers with her good friend–Elisabeth de Gramont, duchesse de Clermont-Tonnerre, since 1909.

Brooks and Barney had only been passionately involved for 18 months when Gramont reached the breaking point. Natalie made no distinction between the two great loves of her life.  A lesbian crisis worthy of a Wagnerian opera occurred.  Lily wrote Natalie a scathing letter, ending their relationship, and left Paris for Evian during a lull in the fighting.

Frantic, Natalie drafted a marriage proposal and pursued Lily hundreds of miles to get it signed. It is probably not the first gay marriage contract in history but it is certainly among the most startling and original between two lesbians.

Romaine and Natalie stayed together, although we don’t know how or when they solemnized their private vows.  Romaine’s 1920 portrait of Natalie is one of the greatest wedding presents ever given by one lesbian to another.  All three women accepted the fact that their marriages would not be monogamous. They would have to live independent lives.  Nonetheless, their love for each other was so great, and Natalie’s sexual allure so magnetic, that all three remained loving partners for the rest of their lives until Lily’s death in 1954.

NatalieImageProxyNLV8N5FE
Romaine Brooks painted this portrait of Natalie Barney in 1920, in the year after Natalie and Elisabeth de Gramont returned from their wedding trip to America. Romaine’s portrait of Lily de Gramont, painted around 1923, hung in Natalie’s house for the rest of their lives. Brooks and Barney were also together for life from the moment they met in 1916.

As we celebrate this 4th of July, Independence Day 2015, many people, gay and straight will be taking a page from this extraordinary playbook for pursuing life, liberty and happiness, understanding that a stable household is best achieved in a family made up of those you love and who love you.

I’m So Excited!

Now that Romaine Brooks: A Life is in production (coming from University of Wisconsin Press in Fall 2015), I’ve begun work on the book trailer.

2D Animated Book Trailer to Launch Brooks Bio

This is a really exciting experience: an animated story of Romaine’s life narrated partly by herself and partly by me. I am learning so much from executive producer Suzanne Stroh and her team at Fixed Gaze Films about how these projects get made.

We seem to be starting with last things first. While the soundtrack is usually the last thing that gets laid down, it also sets the tone and pace of the piece. Music is crucial for understanding the biographer (me), the subject (Romaine) and the book itself (a biography and critical appraisal of the artist).

Jared Balogh Soundtrack

I’m delighted that we’ve chosen a cool, elegant and very Modern piece by jazz composer Jared C. Balogh, “Pulling Myself Up Through.” It’s a beautiful composition and a perfect fit for both Romaine and me. I don’t know if I’ll ever meet Mr. Balogh, but if I do, I’m going to buy him a drink and toast his creative genius.

You can hear an excerpt in this sneak preview of Fixed Gaze’s logo animation, a work still in progress.

Romaine Brooks Attracts Young Audience at Age 141

We are still only in the storyboard stage of preproduction on Romaine Brooks: A Life. I don’t want to give away the story line; suffice it to say that even at age 141, Romaine is not alone! I have not yet seen the character sketches, but I couldn’t contain my excitement and wanted to share it with all you Romaine fans.

Genealogy

Why should any of us care about family history?

Even I sometimes wonder but am consistently reminded why. As a biographer, researcher, art critic and writer, tedious as tracking these things can be, it’s worth the effort. A case in point is Romaine Brooks and her vague connection to the Bonapartes’ family tree. The question as to which branch comes up in her memoir and now — suddenly — in a Barney letter that is for sale on eBay. One path leads to another entirely.

Independent of the Bonaparte question, tracking down the connection becomes more interesting when you consider that it will establish a date for when Natalie was in Nice visiting Romaine. It requires re-reading of other biographers to see if they are aware of the resulting dates. After that, there’s the cross-referencing of information as the pieces of various puzzles begin to fall into place. And then it’s back to re-checking my chronology of Brooks’ life to see if everything fits.

This is why the small details count in the larger picture of reconstructing a subject’s life and understanding how they lived it as much as anyone removed from a life can.

If you want to read a fictionalized adventure in biography, try Possession. For added enjoyment, see the film.

Out of the Blue

Stranger things have happened. I am not a regular troller on eBay but I do try to keep up with anything Romaine Brooks in the slim hope that something valuable for my research might show up. A couple of days after my talk at the Smithsonian, I saw an eBay auction for a portfolio of Romaine’s drawings — 70 of them!

Romaine Brooks Drawing of the ImpedersAs those of you who keep up with me and Romaine know, Suzanne Stroh and Jean-Loup Combemale recently completed a translation/transcription from the French of a 90-minute-long audio interview with Romaine. They determined that it was conducted as part of a planned series of interviews of which this is just one–and truncated at that. (We do not know where the rest of this recording is or where the others may have ended up. Add that to the “future research” list.) What we have determined is that the interview was completed in the summer of 1967 in Paris, perhaps at Natalie Barney’s home. Significantly, Romaine says that she “reworked” a series of drawings from her portfolios for the Smithsonian in conjunction with her upcoming exhibition there.

Could this portfolio be one of these? I contacted the bookseller, who is French. I’m working to track down the buyer and find out what his/her interest is, whether there is more Brooks information, and whether he/she is a collector of Brooks items. I am also trying to date and track the Barney letters from that eBay auction to determine exactly when Natalie was in Nice visiting Romaine. The backstory on the items is intriguing, and as I discover more I will keep you updated.

The manuscript is awaiting copy editing

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.

Where are the lost works?

So much is hidden
Always one for secrets

I am wondering where Romaine Brooks’ lost drawings and paintings are. There are so many intriguing clues scattered throughout her letters, papers, and last audio interview. We have reason to believe that somewhere out there are early works from the Capri period, as well as portraits and still-life pictures such as the one Freer bought from her when she was still painting in bright colors. And what of the drawings she refers to in her interview from late 1967 or 68? What were they of? Nudes of Natalie? Portrait sketches? We now know of works from only two periods, and yet she tells us she drew all the time, and Natalie Barney inquires in their exchange of letters whether she has been drawing to amuse herself.

Despite the many masks I have removed from Romaine, it seems as though even more mysteries remain for future researchers to discover.