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

New Event and interview with me about Brooks

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 √Člisabeth 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).

The Ballet Russe Affair

sex, love, relationships, dance, Romaine Brooks, Saint Sabastian, Paris, 1900
Dwarf (D’Annunzio) shoots arrows at a fair-haired Ida Rubenstein.

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.