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.

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MS. Blog Interview

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 - Book
For one and all

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.


“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.

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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.

Sapphic Modernism and Meaning

Romaine's Way
Romaine’s Way

A new book, The Sexuality of History: Modernity and the Sapphic, 1565-1830 by Susan Lanser simply underscores the importance of Romaine Brooks’s and Natalie Barney’s vision of modernity and exposes as theorist Martha Vicinus has remarked “the centrally of Women’s subordination in the construction of social and cultural systems.”

I hope that my book, Romaine Brooks: A Life (University of Wisconsin Press) which is now at the compositors will help to clarify how Romaine and Natalie envisioned true female independence They both faced overwhelming odds against any woman, much less a lesbian feminist being truly her own woman. They both struggled to find themselves and enable other women to be thoroughly modern in their sense of it. I sometimes wonder what people will take away with them from my book. I look forward to finding out.

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 Accidental Biographer: Beware!

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Romaine Brooks well knew what having the impeders drag you down felt like, and she imagined it here for all of us to identify with when we encounter our own impeders!

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.