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.
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).
I never started out as a biographer. It was always about how I took in the picture before me, tasted it, rolled it over, let it sit in my sensorium, and savored all its flavor — appreciating the artistry of the maker; composition, color, execution, emotions. In short, I was able to follow along when an artist grabbed me with just one look and took me to places both familiar and strange.
From childhood, even as a small toddler, I’ve had this uncanny ability to experience words and pictures in the most intense way. It was one of these experiences (as I write in my introduction to Romaine Brooks: A Life (forthcoming from University of Wisconsin press in 2015) that set me on a 44-year course of investigation. I left me with a need to know so intense that throughout my academic and teaching career I felt compelled to follow the elusive trail that Beatrice Romaine Goddard (Brooks) had forged.
An Intriguing Subject…and Audience
It began with the first scholarly/critical article to be written in America on Brooks’s intriguing, chromatically painted portraits. I followed up with a lecture that garnered the attendance of an ACLU representative from Florida International University. This was, after all, the early 1970s, and I was an out lesbian dealing with an out subject and painter of lesbian and gay subjects. Over the years I continued to write critical commentary on any Brooks articles and/or essays that appeared.
Finally, in 2000, after reading yet another essay sidestepping the problems of Brooks’s complicated relationship with D’Annunzio and right-wing conservative politics of the period, my frustrations propelled me to deal with the issue head-on. I then published two more articles to set the framework for an in-depth look at Romaine’s fascist aesthetics in my new book.
Thus, the Accidental Biographer
In order to unearth the truth of Romaine’s life, I had to become an accidental biographer. That determination set me on a course I never intended to take. If you truly want to understand the real nature of the biographer’s art, you’ll have to read my introduction as to how this studio/art history/philosophy student was compelled to become a reluctant biographer by default.
This painting is by an unknown artist. One of our followers asked if I knew who painted it. I don’t.
Differentiating Brooks’s Work
I have to say (as I did to her), you have to see a Brooks painting face-to-face to really appreciate how subtle and sophisticated her surface application of paint was and how subtle the transitions between shades of grays are. She uses a tonal scale, so unless you can actually see the paintings in person, it is very difficult to translate from on-line or reproduction. The values are much richer.
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.
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.
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!