Love Historical Fiction and Art? You’re in the Right Place!

Welcome to Artful Fiction. Click here and I’ll send you my FREE historical fiction short story, “Collioure Shall Always Be Collioure” about the tragic story of Olga Meerson, model to Henri Matisse. I’ll also send you periodic updates and fun content.

“The Arts are sisters to the senses.” Victorine by Drēma Drudge.


Want more art in fiction? I’ve got you! Victorine, the novel, is now available! Scroll down to learn more about my historical fiction novel based on Victorine Meurent, Édouard Manet’s favorite model who became a painter herself, though history often forgets that part of the story.

Order it today on Amazon! http://amzn.to/2QoEqXM Or at Barnes and Noble: https://bit.ly/39XVRFt

Here’s one of my husband, Barry Drudge’s songs he wrote for this album. Warning: it will leave you wanting more! But the album is not available for sale just now. Check back soon.

Victorine

by Drema Drudge

I LOVE the cover. It perfectly fits Victorine’s personality: bold, libertine, and artistic; she refuses to give anything away with her gaze.

http://www.metmuseum.org/art/collection/search/436945

Drēma Drudge is a novelist, freelance writer, and educator who lives in Indiana with her husband, writer and musician Barry Drudge.

Photo: Barry Drudge

Victorine Meurent was first depicted as the young girl she was by Manet in 1862, but his paintings of her quickly escalated into more and more exciting and scandalous art: a street singer. A bullfighter. Most famously she was depicted as the fully naked sex worker in Olympia, a painting that had many a patron of the Paris Salon attempting to do it harm with canes and sticks until it was moved out of reach.

Maybe we should be grateful for the paintings (she was painted not only by Manet but also extensively by Alfred Stevens and on occasional by other painters such as Degas and Toulouse-Lautrec) because we know so little else about her.

How did I become acquainted with Victorine?


I was sitting in a college class watching a slideshow which featured Olympia. I had never seen the painting before. The professor’s point was soon made and he moved on to the next slide, but I couldn’t quit thinking about the painting. More specifically, something about the woman said she had more to say, more than Manet had allowed her to say. Her personality refused to be confined to his brushstrokes.

Fast forward a few months and my husband and I jetted off to Paris to see Olympia. Of course it was a dream vacation, but at its heart was investigating this painting. I thought if I saw her in person I would know what it was I couldn’t figure out. I refused to even Google the painting before we went. It felt as if she were calling me personally to talk to her, not to listen to rumors and innuendo.

And what was with her nose? Something wasn’t right there.

I’m convinced paintings have lives of their own, regardless of how artists attempt to arrange and compose them.

I couldn’t sleep the night before we were due to visit Musée d’Orsay.

Standing before her, I had more questions than answers. I cried with frustration because it was like listening to exquisite music with plugged ears. Then a tour guide came by with her group and she said something I never could verify, but it felt so true to who I discovered Victorine to be that I ran with it: she said the reason the nose looked funny in the painting was because a boxer boyfriend of Victorine’s had broken it. (No one else has ever mentioned to me that her nose does look odd, but I think it does, just a little.)

I cried as I realized this was what I was looking for. Or I thought it was. A placard upstairs before The Luncheon on the Grass told me something else, something even more valuable: Victorine hadn’t been just a model. She had become a respected painter, though few now remembered that about her.

Ah. Now I knew why she had chosen me. I had just written a short story about Olga Meerson, a model for Matisse who was also a painter. Word must have gotten around that I could sympathetically handle painters whose own work was overshadowed by paintings of themselves.

When I did search the Internet after that trip, it only yielded one of Victorine’s paintings, recovered in 2004: Palm Sunday. The tenderness of her rendering of the young girl riveted me.

Since my initial research, I have been able to find three more of her works, each on precious. I was even allowed to put her self-portrait on the back cover of my novel! We believe it is the first time it has been in print. I’m so deeply honored.

So I took the few facts we know about Victorine, paired them with some investigative work and a deep dive into Parisian culture of the mid 19th century, and wrote a novel with boxing, catacombs, love, loss, sex, art and more art. This all featuring some of the most well-known characters of Paris of the time, filtered through the eyes of Victorine, wild, soulful, passionate Victorine.

Want to know more? All you need to do is click here. I’ll also send you fun updates and more. For other questions or interview requests, contact me directly at drema@dremadrudge.com.

This image has an empty alt attribute; its file name is olga-meerson-by-henri-matisse.jpg

Click here and I’ll send you my FREE historical fiction short story, “Collioure Shall Always Be Collioure” about Olga Meerson, model to Henri Matisse. I’ll also send you periodic updates and fun content.

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