Tag Archives: Art History

La Luministe, a Lush Art Novel by Paula Butterfield

When I heard about this book, I knew I’d buy it. There are books like that. Since I’m an Impressionism geek and feminist, when I heard that Paula Butterfield had written a novel about Berthe Morisot, one of the few women on the forefront of the Impressionist movement, I was thrilled.

Then I learned that my Victorine Meurent, the main character of my novel, makes an appearance in La Luministe, and I squealed. (A fun thing is that Morisot shows up in my book briefly as well.)

If someone had asked me what I’d like a novel written about, I’d have said this. And I wasn’t disappointed.

But before I discuss the content, let’s look at the cover. You’ve got this amazing painting, At the Ball, by Morisot, which depicts a woman with a fan. Here, though, the painting is partially, tantalizingly, obscured. If you continue your gaze downward, you’ll be rewarded by a bit of what we assume is an easel, complete with a lovely, paint-spattered brush at the bottom. That brush! I want to hold it.

As one who has carefully studied mid-19th century Parisian art history and its chief players, I greatly admired and enjoyed the story, once I allowed my gaze to stray beyond that fabulous cover. In fact, Butterfield assumes the mantle of our “luministe” as she enlightens us about what it was like to be a painter during a time when respectable women did not paint beyond pretty little scenes to make them seem accomplished to suitable husbands.

Though artist Berthe Morisot sustains a lifelong longing for the unobtainable Edouard Manet, she manages to break free from both society and familial expectations enough to become a painter of note herself in the newly bourgeoning Impressionist movement. In the end, she ultimately finds herself at “repose,” as one of Manet’s paintings of her is titled.

This book is moving, well researched, and told with painstaking detail. It was a delight to read.

Manet and Modern Beauty

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Manet and Modern Beauty: The Artist’s Last Years, edited by Scott Allan, Emily A. Beeny, and Gloria Groom, is the catalogue for the eponymous exhibit of Édouard Manet’s later works. Filled with lush color representations of the paintings and ephemera on display, the expansive book also delights with authoritative, informative essays for those who might not be as familiar with Manet’s life and painting, or for those eager to learn current theories about the painter.

Later in life Manet gravitated toward unabashedly painting fashion, flowers, and fruit. Unlike his political and hierarchical-upsetting earlier works, he seemed pleased to focus on painting what simply appealed to his eyes during his later years when he was unwell and had limited mobility.

Two notable works in the collection are Jeanne (Spring) and Autumn (Méry Laurent), the only two of a planned set of four to represent the seasons that Manet completed.

The Conservatory, Plum Brandy, Waitress Serving Beer, and the CaféConcert are some of the other paintings depicting modern life and fashion that preoccupied Manet in the second half of his career. No one paints a good mug of beer like Manet. It’s as if he’s anticipating drinking it as he creates it. Equally, no one uses color quite in the same way, either. If you don’t know his paintings by the hands, you’ll know them by the way he places colors adjacent to one another. He evidences his joy in flowers by the care he takes in drawing them. His palette makes flowers look even more beautiful than they do in real life. It’s the work of someone who knows he’s dying and wants to gather to himself all of the beauty and color he will have to leave behind.

The editors of the book thank Juliet Wilson-Bureau, and with good reason: her extensive Manet scholarship is deeply felt in the exhibit. Essay authors and contributors to the collection include Carol Armstrong, Helen Burnham, Leah Lehmbeck, Devi Ormond, Douglas MacLennan, Nathan Daly, Catherine Schmidt Patterson, Bridget Alsdorf, Jamie Kwan, and Samuel Rodary. They write on topics as varied as Manet and the Salon to the materials he used, a fascinatingly deep dive. His “little nothings” are the subject of Armstrong’s essay, lending weight to something Manet himself pretended to dismiss.

The essays are engaging and necessary reading for the exhibit goer (preferably devoured before attending the show and again after), and perhaps even more necessary for those who cannot attend. For Manet aficionados, this book will both whet your appetite to see the paintings and to study him more in-depth than ever before. What the authors spark is a hunger for examining the paintings for oneself.

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Plum Brandy

This volume will satisfy the curiosity of the most avid fan. It delves into the provenance of every painting. It depicts his “scribbles” on envelopes and his attempts at painting tambourine skins. It reprints correspondence to and from Manet about his paintings. As a souvenir, an exhibit guidebook, and a textbook, Manet and Modern Beauty is one for the art lover’s library.

An important note for would-be viewers: a few of the paintings are not going to be shown at both the Art Institute in Chicago and the J. Paul Getty Museum in L.A., (the two museums which will host the show), so consult the book to know if your favorite will be at the museum where you will attend the show.