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.
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.
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.
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.