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.
The first Romaine Brooks solo exhibition in over 16 years opens at the Smithsonian American Art Museum in Washington, D.C. on the 17th of June. Most viewers remain unaware of what goes into researching, organizing, and putting on an exhibition. So somewhat like Dorothy’s dog Toto in the film the Wizard of Oz let me pull the curtain back to reveal one aspect of what goes into making it all happen: art conservation.
As a graduate student at the Institute of Fine Arts in NYC in 1968 I first became acquainted with this subtle art through the pioneering pair of art restorers, Sheldon and Caroline Keck. At the time, like many young art historians today, I had no idea what went into restoring a painting. Sheldon Keck died in 1993 but not before he and Caroline set up the first conservation school in the country. They taught students how to remove accumulated grime, discolored varnish and other signs of wear and tear from paintings, restoring them to their original beauty.
The art of a sensitive conservator is a miraculous thing. At the Smithsonian Tiarna Doherty’s sensitive insights into the art of Romaine Brooks have contributed immeasurably to this exhibition and our knowledge of Romaine Brooks as a skilled painter.
Tiarna will give two gallery talks this summer: the first on Tuesday June 21st at 4 p.m. and the second on Monday August 15 at noon. She will highlight the paintings of Romaine Brooks with an in-depth look at how conservators work to preserve an artist’s intended effects. This is a must see for artists and lovers of art worldwide who want to really appreciate this great painter.
My book devotes a considerable number of words regarding how to look at, see and experience a Brooks painting to get the fullest possible pleasure from it. Happy viewing. The show will run through the end of September.
Speaking engagements can be arranged by request. At events, signed copies of the book will be available for purchase, please contact U of Wisconsin Press or myself.
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.
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.
People keep asking me about my forthcoming Romaine Brooks book. I am doing some tweaks in light of startling new information about her personal relationships that came to light while I was working to determine the proper copyrights issues.
My book contrasts Brooks’ work with the political, social, and interpersonal environment within which Brooks painted, whether during war, while living separately, in communal houses with her partners (who included Natalie Barney and Lily de Gramont), or during her prime years as a socialite in Paris. Romaine Brooks: A Life proceeds chronologically through Brooks’ works and the documented interactions with both her subjects and her peers to persuasively emphasize her struggles and change the current perception of Romaine Brooks. Here is the key to finally restoring Brooks to the history of American and International art that is her rightful place in the development of art. Although a conservative modernist in her chosen artistic style, content, and approach, she was decidedly modernist in that she documented a lesbian and bi-sexual subculture. She also applied a new musicality to her work, developing a unique approach to both monochromatic harmonies and tonal scale in her use of paint and its application to the canvas.
Recognition of Brooks for the originality and quality of her work, as well as for her courage in demanding to be seen, is long overdue. My book establishes once and for all how important and innovative her contributions to art were. I firmly believe that, had she not been a conservative modernist, expatriate, and sapphist-lesbian, she would not have been neglected as she has been. Much work remains to be done clarifying the details of Romaine’s life and art. It is my hope that a new and younger generation of scholars will take up the mantle where I have left off.
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.