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ended, Brooks declined to move back to Paris with Barney, saying she wanted to "get back to painting and painter's life", but in fact she virtually abandoned art after the war. She and Barney were involved in promoting her work and arranging gallery and museum placements for her paintings. She became increasingly reclusive, and while Barney continued to visit her frequently, by the mid-1950s she had to stay in a hotel, meeting Brooks only for lunch. Brooks spent weeks at a time in a darkened room, believing she was losing her eyesight. According to
Secrest, she became paranoid, fearing that someone was stealing her drawings and that her chauffeur planned to poison her. However, subsequent research (Langer) leads researchers to believe her fears were not unfounded. In a 1965 letter, she cautioned Barney not to lie down on the benches in her garden, lest the plants feed on her life force: "Trees especially are our enemies and would suck us dry." In the last year of her life, she stopped communicating with Barney entirely, leaving letters unanswered and refusing to open the door when Barney came to visit. Her reasons for doing so are referenced in Langer's biography. She died in Nice, France in 1970 at the age of 96. Brooks is buried in the old English Cemetery in Nice, in a family plot with her mother and her brother St. Mar.
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tour de force of ironic commentary". Laura Doan, pointing out newspaper and magazine articles from 1924 in which high collars, tailored satin jackets, and watch fobs are described as the latest in women's wear, describes
Troubridge as having a "keen fashion sense and an eye for sartorial detail". But, these British fashions may not have been favored in Paris; Natalie Barney and others in her circle considered Troubridge's outfits ridiculous. Brooks expressed her own view in a letter to Barney: "Una is funny to paint. Her get-up is remarkable. She will live perhaps and cause future generations to smile."
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desire for companionship, rather than the need for a marriage of convenience. They quarreled almost immediately when she cut her hair and ordered men's clothes for a planned walking tour of
England; he refused to be seen in public with her dressed that way. Chafing at his desire for outward propriety, she left him after only a year and moved to London. His repeated references to "our" money frightened her, as the money was her inheritance and none of it his. After they split, she continued to give Brooks an allowance of 300 pounds per year. He lived comfortably on Capri, with
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mother of two daughters. After a brief dust-up that resulted in Barney's offering
Gramont a marriage contract while at the same time refusing to give up Brooks, the three women formed a stable lifelong triangle in which none was a third wheel. Gramont, one of the most glamorous taste-makers and aristocrats of the period, summed up their values when she said, "Civilized beings are those who know how to take more from life than others." Gender fluidity and sexual freedom were paramount among women of Brooks' circle. Barney hosted a literary
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she herself says in her audio interview from 1968 that she was miffed by the fact that McAvoy portrait of her showed a bunch of dried up brushes rather than the glass table she used as a palette "As if I didn't paint." Her comments seem to indicate she was anything but dried up as a painter. In fact, she had intended to paint a portrait of MacAvoy but he never had time to sit for her. During the '30s, she became the subject of literary portraits by three writers. Each portrayed her as part of lesbian social circles in Paris and Capri.
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jackets—usually with a skirt—was a recognized fashion, discussed in magazines as the "severely masculine" look. Women such as Gluck, Troubridge, and Brooks used variations of the masculine mode, not to pass as men, but as a signal—a way of making their sexuality visible to others. At the time these paintings were made, however, it was a code that only a select few knew how to read. To a mainstream audience, the women in these paintings probably just looked fashionable.
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704:—relenting once Barney had given in. At the same time, while Brooks was devoted to Barney, she did not want to live with her full-time. She disliked Paris, disdained Barney's friends, and hated the constant socializing on which Barney thrived. She felt most fully herself when alone. To accommodate Brooks's need for solitude, the women built a summer home consisting of two separate wings joined by a dining-room, which they called
649:(1916–1917), a nude based on a photographs that Brooks took during their relationship; she needed them because Rubinstein was such a restless and unreliable model. According to Brooks' unpublished memoir, the painting represents "the passing away of familiar gods" as a result of World War I. She said she tried to repaint Venus's features many times, but Rubinstein's face somehow kept returning: "It fixes itself in the mind."
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presented her cross-dressing as an artistic eccentricity or as a sign that she was ultra-modern. Brooks' portrait shows Gluck in a starched white shirt, a silk tie, and a long black belted coat that she designed and had made by a "mad dressmaker"; her right hand, at her waist, holds a man's hat. Brooks painted these masculine accoutrements with the same attention she had once given to the parasols and ostrich plumes of
926:'s illustrations, a claim Brooks herself refutes in her 1968 audio interview. The imagery of the 1930s drawings continues Brooks's experiments in the Surreal that she began as a teenager in the late 1880s. Her use of "premeditated" drawings as a route to the subconscious has been compared to automatic drawings by the Surrealists of the 1920s, but Brooks's work predates Surrealists such as
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806:(1924). The protagonist Susan Brent first encounters Ford among a group of women at a masquerade ball in Paris; the descriptions of these women correspond closely to Brooks's portraits, particularly those of Elisabeth de Gramont and Una Troubridge. Brent decides to leave her husband and pursue art after seeing the painting
818:(1928), a novel about a group of lesbians on Capri during World War I, as the composer Olympia Leigh. Although the novel is satirical, Mackenzie treats Brooks with more dignity than the rest of the characters, portraying her as a detached observer of the others' jealous intrigues—even those of which she is the focus. In
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payments. The family continued to care for
Beatrice, although they sank further into poverty. She did not tell them where her grandfather lived for fear of being returned to her mother. Other sources record that she attended a girls' school in New Jersey, an Italian convent and a Swiss finishing school.
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D'Annunzio and Brooks had spent the summer of 1910 in a villa on the coast of France until D'Annunzio was disrupted by one of his jealous ex-mistresses. She came to the gates of Brooks' villa with pistol in hand, demanding entry. After a brief falling out, Romaine resumed a friendship with D'Annunzio
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a young woman stands in front of a large folding screen, wearing only a small open jacket, with her hands behind her back. Her emaciated stature and forlorn expression led one contemporary reviewer to refer to her as a consumptive; Brooks described her simply as "a poor girl who was cold". The other,
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In the summer of 1899, Goddard rented a studio in the poorest part of the island of Capri. Despite her best efforts, her funds were still insufficient. After several months of near starvation, she suffered a physical breakdown. In 1901, she returned to New York when her brother St. Mar died; with her
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Although her family was wealthy, Brooks had an unhappy childhood after her alcoholic father abandoned the family; her mother was emotionally abusive and her brother mentally ill. By her own account, her childhood cast a shadow over her whole life. She spent several years in Italy and France as a poor
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From the 1930s onward, her work was largely forgotten. In 1930, while laid up with a sprained leg, Brooks began a series of more than 100 drawings of humans, angels, demons, animals, and monsters, all formed out of continuous curved lines. She said that when she started a line she did not know where
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wrote an appreciation calling her "the thief of souls." The restrained, almost monochromatic decor of her home also attracted attention; she was often asked to give advice on interior design, and sometimes did, though she did not relish the role of decorator. Brooks became increasingly disillusioned
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One of Brooks's more analyzed paintings, a 1924 portrait of Una, Lady
Troubridge, has been seen as everything from an image of female self-empowerment to a caricature. Art critic Michael Duncan sees the painting as making fun of Troubridge's "dandified appearance", while for Meryle Secrest it is "a
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probably inspired her to adopt a monotone color scheme with accents of tinted pigments because through this technique she could suggest a classical restraint and create tensions that were modulated by shape, texture, and variations of shading throughout her canvases. She may have been introduced to
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in 1936 and Muriel Draper in 1938. Moreover, Brooks did complete what previous scholars thought to be her last portrait at the age of 87 in 1961. The artist stated that she had drawn all her life so there is no reason to assume she was not doing so by the time MacAvoy painted her portrait. In fact,
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Brooks's 1923 self-portrait has a somber tone. Brooks—who also designed her own clothes—painted herself in a tailored riding coat, gloves, and top hat. Behind her is a ruined building rendered in gray and black, underneath a slate-colored sky. The only spots of strong color are her lipstick and the
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Barney was notoriously non-monogamous, a fact that the other two women had to accept. Brooks met Barney in 1916, at a time when the writer had already been involved for about seven years with
Duchess Elisabeth de Gramont, also known as Lily or Elisabeth de Clermont-Tonnerre. She was married and the
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brother, St. Mar. According to one source, Goddard had to tend to St. Mar, because he attacked anyone else who came near him. According to her memoir, when she was seven, her mother fostered her to a poor family living in a New York City tenement, then disappeared and stopped making the agreed-upon
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Beatrice
Romaine Goddard was born in Rome, the youngest of three children of the wealthy American Ella (Waterman) Goddard and her husband Major Henry Goddard who was also American. Her maternal grandfather was the coal mining multi-millionaire Isaac S. Waterman Jr. Her parents divorced when she was
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at the Uffizi when she was a penniless art student in Rome. She painted the man because she thought he resembled herself as a girl. She later gave the painting to D'Annunzio as a joke when she refused to become his lover. D'Annunzio was in the tasteless habit—Romaine thought—of hanging pictures of
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The details of Brooks's own conservative politics have been clouded by her friendship with D'Annunzio, and admiration of him as an artist and fellow sufferer. There is no evidence that she was a card-carrying
Fascist or that she was sympathetic to Italian Fascism. The classicizing individualism of
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Brooks is thought to have stopped painting by several writers, but she herself tells us that she drew all her life. She moved from Paris to Villa Sant'Agnese, a villa outside
Florence, Italy in 1937, and in 1940—fleeing the invasion of France by Germany—Barney joined her there. After World War II
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In 1925, Brooks had solo exhibitions in Paris, London, and New York. There is no evidence to substantiate the claim that Brooks ceased painting after 1925. While in New York during the '30s, she produced portraits of Carl Van Vechten in 1936 Muriel Draper in 1938 that we know of. We know that she
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and acquired British nationality. Brooks was an unsuccessful pianist and translator who was in deep financial difficulty. He was homosexual as well, and Goddard never revealed exactly why she married him. Her first biographer Meryle Secrest suggests that she was motivated by concern for him and a
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Gluck, an English artist whom Brooks painted around 1923, was noted in the contemporary press as much for her style of dress as for her art. She pushed the masculine style further than most by wearing trousers on all occasions, which was not considered acceptable in the 1920s. Articles about her
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Several of these paintings depict women who had adopted some elements of male dress. While in 1903, Brooks had shocked her husband by cutting her hair short and ordering a suit of men's clothes from a tailor, by the mid-1920s bobbed and cropped hairstyles were "in" for women and wearing tailored
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burns in the distance behind her. Although it is not a portrait of Rubinstein, it does resemble her, and she may have modelled for it. It was exhibited along with a poem by D'Annunzio calling for courage and resolution in wartime, and later reproduced in a booklet sold to raise funds for the Red
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at the same time she began this series of drawings. Critics have interpreted them as exploring the continuing effect of her childhood on her—a theme expressed even in the symbol she used to sign them, a wing on a spring. Decades later, at 85, she said, "My dead mother gets between me and life."
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coast, rented a small studio, and began learning to create finer gradations of gray. When a group of local artists asked her to give an informal show of her work, she displayed only some pieces of cardboard on which she had dabbed her experiments with gray paint. From then on, nearly all of her
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Although she lived until 1970, it is erroneously believed that she painted very little after 1925 despite evidence to the contrary. She made a series of drawings during the 1930s, using an "unpremeditated" techniques predating automatic drawing. She spent time in New York City in the mid 1930s,
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Brooks's portrait of Barney has a softer look than her other paintings of the 1920s. Barney sits, swathed in a fur coat, in the house at 20 Rue Jacob where she lived and held her salon. In the window behind her, the courtyard is seen dusted with snow. Brooks often included animals or models of
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animals in her compositions to represent the personalities of her sitters; she painted Barney with a small sculpture of a horse, alluding to the love of riding that had led Remy de Gourmont to nickname her "the Amazon". The paper on which the horse stands may be one of Barney's manuscripts.
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Brooks tolerated Barney's casual affairs well enough to tease her about them, and had a few of her own over the years. She could become jealous when a new love became serious. Usually she simply left town, but at one point she gave Barney an ultimatum to choose between her and
1007:, an interior designer who she felt had copied her monochromatic color schemes. Brooks painted de Wolfe porcelain-pale, in an off-white dress and a bonnet resembling a shower cap; a white ceramic goat placed on a table at her elbow seems to mimic her simpering expression.
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On June 16, 2016, under the direction of Dr. Langer and Legion Group Arts, young Italian researcher Giovanni Rapazzini de Buzzaccarini discovered a long-lost early work by Brooks at the Vittoriale in Gardone. Brooks had copied (Pietro di Cristoforo Vannucci 1450–1523)
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Brooks did not always ennoble her subjects. Inherited wealth freed her from the need to sell her paintings; she did not care whether she pleased her sitters or not, and her wit, when unleashed, could be devastating. A striking example is her 1914–1915 portrait of
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purchased paints in WWII when she and Natalie were trapped in Florence. As researchers, we know from photographs that there are lost works by Brooks still to be rediscovered. After that year, she produced only four more paintings, including portraits of
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Although they broke up in 1914, Brooks painted Rubinstein more often than any other subject; for Brooks, Rubinstein's "fragile and androgynous beauty" represented an aesthetic ideal. The earliest of these paintings are a series of allegorical nudes. In
733:, who toured Brooks's studio in the late 1940s, may have been exaggerating when he called it "the all-time ultimate gallery of all the famous dykes from 1880 to 1935 or thereabouts", but Brooks painted many of them. Barney's lover of the moment was
946:, whom she met on Capri around 1899, and who bought one of her early works. Brooks said she "wondered at the magic subtlety of tones" but thought his 'symphonies' lacked the corresponding subtlety of expression. One 1920 portrait may take its
398:, displaying thirteen paintings, almost all of women or young girls. Some were portraits; others showed anonymous models in interior scenes or against tonal backgrounds, often with pensive or withdrawn expressions. The paintings were generally
781:. Her eyes are shaded by the brim of her hat, so that, according to one critic, "she's watching you before you get close enough to look at her. She's not passively inviting your approach; she's deciding whether you're worth bothering with."
518:. D'Annunzio had an obsessive but unrequited attraction to Rubinstein as well. Rubinstein was deeply in love with Brooks; she wanted to buy a farm in the country where they could live together—a mode of life in which Brooks had no interest.
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completing portraits of Carl Van Vechten and Muriel Draper. Many of her works are unaccounted for, but photographic reproductions attest to her ongoing artwork. It is thought to have culminated in her 1961 portrait of Duke Uberto Strozzi.
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Chadwick, 13, discusses D'Annunzio's influence; Langer, 47n5 and 47n9, cautions that: "Brooks's support of Fascism has not been documented" but seems to agree she had some Fascist sympathies; Warren discusses her own reaction to Brooks's
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have been interpreted as creating new images of strong women. The portraits of the 1920s in particular—cross-dressed and otherwise—portray their subjects as powerful, self-confident, and fearless. One critic compared them to the faces on
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from a painting by Whistler. While the poses are almost identical, Brooks removes the little girl and all the details of Whistler's domestic scene, leaving only Borgatti and her piano—an image of an artist completely focused on her art.
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Chadwick, 8, Langer 204–206. For an extended comparison of Brooks's portraits with a 1990s series of photographs by the transsexual artist Loren Cameron, see Melanie Taylor's "Peter (A Young English Girl): Visualizing Transgender
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school, in between times spent with her mother, who moved around Europe constantly, although the stress of travel made St. Mar harder to control. In adulthood, Goddard Brooks referred to herself as having been a "child-martyr".
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paintings are keyed to a gray, white and black color scheme with touches and tints of ochre, umber, alizarin and teal. By 1905, she had found her tonal palette, and would continue to develop these harmonics her whole career.
208:. Her subjects ranged from anonymous models to titled aristocrats. She is best known for her images of women in androgynous or masculine dress, including her self-portrait of 1923, which is her most widely reproduced work.
988:. Brooks seems to have seen her portraits in this light. According to a memoir by Natalie Barney, one woman complained, upon seeing her portrait, "You haven't beautified me", to which Brooks replied "I have ennobled you."
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grief-stricken mother dying less than a year later from diabetes complications. Goddard was 28 when she and her sister inherited the large estate their Waterman grandfather had left, which made them independently wealthy.
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stands alone. Brooks used this romantic image of a figure in heroic isolation in both the 1912 portrait of D'Annunzio and her 1914 self-portrait; the subjects are wrapped in dark cloaks and isolated against seascapes.
278:, before finding out she was pregnant and delivering a baby girl on February 17, 1897. She placed the infant in a convent for care, then travelled to Rome to study art. Goddard was the only female student in her
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art student, then inherited a fortune upon her mother's death in 1902. Wealth gave her the freedom to choose her own subjects. She often painted people close to her, such as the Italian writer and politician
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since the 1980s, and new interest in the exploration of gender and sexuality through art, have led to a reassessment of her work. She is now seen as a precursor of present-day artists whose works depict
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530:), Rubinstein appears to be in a coma, stretched out on a white bed or bier against a black void variously interpreted as death or floating in spent sexual satisfaction on Brooks' symbolic wing; in
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with Parisian high society, finding the conversation dull, and feeling that people were whispering about her. Despite her artistic success, she described herself as a
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the "hyphenated villa". Brooks spent part of each year in Italy or traveling elsewhere in Europe, away from Barney. The relationship lasted for more than 50 years.
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In 1893 at the age of 19, Goddard left her family and went to Paris. She extracted a meager allowance from her mother, took voice lessons, and for a time sang in a
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her paintings may have been influenced by D'Annunzio's aesthetics—an idea that has troubled some viewers otherwise attracted to the imagery of Brooks's portraits.
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Elliott, Bridget; Wallace, Jo-Ann (Spring 1992). "Fleurs du Mal or Second-Hand Roses?: Natalie Barney, Romaine Brooks, and the 'Originality of the Avant-Garde'".
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606:, he led a group of nationalist irregulars who seized and held the city of Fiume to prevent Italy from ceding it to Croatia. He briefly set up a government, the
2025:, Joanna Frueh, Cassandra Langer, and Arlene Raven, eds. New York: HarperCollins, 1994. 320. Quoted in Chadwick, 35. Secrest, 124, describes it as a caricature.
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themes. Critics have described her portraits of the 1920s as a "sly celebration of gender-bending as a kind of heroic act" and as creating "the first visible
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In 1904, Brooks became dissatisfied with her work, and in particular with the bright color schemes that she had used in her early paintings. She travelled to
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Cassandra Langer calls it an image of female self-empowerment in "Transgressing Le droit du seigneur: The Lesbian Feminist Defining Herself in Art History,"
618:'s government. Although he is regarded as a precursor of Fascism, D'Annunzio disavowed any connection with Mussolini or Fascism toward the end of his life.
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small, and her father abandoned the family. Beatrice was raised in New York by her unstable mother, who abused her emotionally while doting on her
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it would go, and that the drawings "evolve from the subconscious...ithout premeditation." Brooks was writing her unpublished memoir
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Lucchesi, Joe. (2003). "'Something Hidden, Secret, and Eternal': Romaine Brooks, Radclyffe Hall, and the Lesbian Image in 'The Forge'".
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Brooks's realistic style may have led many art critics to dismiss her, and by the 1960s her work was largely forgotten. The revival of
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534:, she is depicted as a pagan Madonna strewing flowers on the ground in a grassy meadow. When Rubinstein starred in D'Annunzio's play
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After the foster family located her grandfather, he arranged to send Beatrice to study for several years at St. Mary's Hall (now
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Elliott, Bridget. "Performing the Picture or Painting the Other: Romaine Brooks, Gluck and the Question of Decadence in 1923."
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of Natalie Barney's circle in Paris, she makes a brief appearance as Cynic Sal, who "dresse like a coachman of the period of
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Lucchesi, Joe. (2000). "'An Apparition in a Black Flowing Cloak': Romaine Brooks's Portraits of Ida Rubinstein." Chadwick,
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featured an exhibition of the art of Romaine Brooks, declaring "The world is finally ready to understand Romaine Brooks."
503:; he wrote poems based on her works and called her "the most profound and wise orchestrator of grays in modern painting".
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From 1920 to 1924, most of Brooks's subjects were women who were in Barney's social circle or who visited her salon.
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Hawthorne, Melanie (January 2, 2016). "When You Cannot Run, You Cannot Hide: Romaine Brooks Draws (On) the Past".
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Brooks included two nude studies in this first exhibition—a provocative choice for a woman artist in 1910. In
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looks away from the viewer; in the background above her is a series of Japanese prints which Brooks loved.
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Chastain, Catherine McNickle (Fall 2001 – Winter 2002). "Romaine Brooks: A New Look at Her Drawings".
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Taylor, Melanie (May 2004). "Peter (A Young English Girl): Visualizing Transgender Masculinities".
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red ribbon of the Legion of Honor that she wears on her lapel, recalling the Red Cross insignia in
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The exhibition established Brooks' reputation as an artist. Reviews were effusive, and the poet
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The longest and most important relationship of Brooks' life was her three-way partnership with
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During the war, D'Annunzio became a national hero as leader of a fighter squadron. During the
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Wild Girls: Paris, Sappho, and Art: The Lives and Loves of Natalie Barney and Romaine Brooks
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Langer, Cassandra; Chadwick, Whitney; Lucchesi, Joe (Autumn 2001 – Winter 2002). "Review of
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In 1911, Brooks became romantically involved with the Ukrainian-Jewish actress and dancer
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his mistresses in a rogue's gallery. Buzzaccarini found this painting in the music room.
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176:; May 1, 1874 – December 7, 1970) was an American painter who worked mostly in Paris and
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Brooks kept aloof from the artistic trends and movements of her time, "act as if the
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did not exist." However, some critics have mistakenly said Brooks was influenced by
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Latimer, Tirza True (2006). "Romaine Brooks and the Future of Sapphic Modernity."
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glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture
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Wild Heart: A Life: Natalie Clifford Barney and the Decadence of Literary Paris
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2109:. Introduction by Susan Sniader Lanser. New York: New York University Press.
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keyed to the color gray. Brooks ignored contemporary artistic trends such as
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2917:
2862:
2812:
2797:
819:
754:
360:
243:
119:
82:
32:
2427:
979:
Brooks's portraits starting with her 1914 self-portrait extending through
883:
3167:
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3047:
3023:
2976:
2943:
2723:
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969:
701:
685:
312:
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594:
leads a group of Parisians who have taken up arms, while the subject of
2938:
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2168:
364:
279:
306:
Despite being a lesbian, on June 13, 1903, Goddard married her friend
2724:
835:
351:
Brooks left St. Ives and moved to Paris. Poor young painters such as
2344:
2269:
2200:
Fashioning Sapphism: The Origins of a Modern English Lesbian Culture
2160:
838:"—a reference to the style of dress seen in her 1923 self-portrait.
3131:
2981:
2514:(Definitive ed.). Minneapolis: University of Minnesota Press.
2132:. Essay by Joe Lucchesi. Berkeley: University of California Press.
1469:
See Romaine Brooks, On The Hills of Florence, SIA available online.
933:
The most widely observed influence on Brooks's painting is that of
911:
394:
In 1910, Brooks had her first solo show at the prestigious Gallery
328:
101:
3120:
2455:. New Brunswick, NJ: Rutgers University Press. pp. 169–179.
409:
275:
267:
196:, drawing on her own original aesthetic inspired by the works of
193:
1227:"Group: an officer of high rank and his wife. B.C. 1300. (B.M.)"
2510:
Ryersson, Scot D.; Michael Orlando Yaccarino (September 2004).
973:
915:
189:
2072:"History, Travel, Arts, Science, People, Places | Smithsonian"
753:. Another of Brooks' lovers was the wildly eccentric Marchesa
565:
177:
2512:
Infinite Variety: The Life and Legend of the Marchesa Casati
1772:
Barnes, 36. Cynic Sal is identified as Brooks in Weiss, 156.
1635:
Infinite Variety: The Life and Legend of the Marchesa Casati
2326:
1196:. Madison, Wisconsin: University of Wisconsin. p. 68.
611:
413:
367:. In contrast, Brooks took an apartment in the fashionable
60:
2690:, at the Archives of American Art, Smithsonian Institution
2450:
2395:
Sapphic Modernities: Sexuality, Women and English Culture
1267:. Berkeley, CA: University of California Press. pp.
652:
490:
382:
Romaine Brooks, ca. 1910 / Perou, photographer. From the
2371:
Women Together / Women Apart: Portraits of Lesbian Paris
2245:. Manchester and New York: Manchester University Press.
2178:"ART REVIEW; Politics Runs Through More Than Campaigns"
1064:, oil on canvas, 1917 (Smithsonian American Art Museum)
639:
that lasted until his death in Gardone Riviera, Italy.
569:
Cross. After the war, Brooks received the cross of the
2329:
Amazons in the Drawing Room: The Art of Romaine Brooks
2128:
Amazons in the Drawing Room: The Art of Romaine Brooks
1263:
Amazons in the Drawing Room: The Art of Romaine Brooks
460:. Unlike the women in those paintings, the subject of
2672:
Romaine Brooks at the Smithsonian American Art Museum
930:
by decades. MacAvoy called her the first Surrealist.
798:
Brooks was the model for the painter Venetia Ford in
757:, whose portrait she painted in 1920 while on Capri.
695:
Natalie Clifford Barney and Romaine Brooks, ca. 1915
220:, and her partner of more than 50 years, the writer
1637:, University of Minnesota Press, 2004, pp. 107–112.
359:were creating new art in the Bohemian districts of
2635:
2547:Between Me and Life: A Biography of Romaine Brooks
2544:
2368:
2305:
2287:Pagan Light: Dreams of Freedom and Beauty in Capri
2238:
2197:
2125:
1260:
2688:A finding aid to Romaine Brooks papers, 1910–1973
1633:Ryersson, Scot D. and Michael Orlando Yaccarino.
3189:
2390:
1538:
1536:
1526:
1524:
1487:Lucchesi, "Apparition", 80 and Secrest, 243–244.
773:—underscores the gender ambiguity of the image.
560:At the beginning of World War I, Brooks painted
2638:Paris Was a Woman: Portraits from the Left Bank
2375:. New Brunswick, NJ: Rutgers University Press.
784:
2469:
2451:Chadwick, Whitney; Tirza True Latimer (2003).
2259:
954:
402:, showing an attentive eye for the details of
2709:
2682:Romaine Brooks biography, artwork and memoirs
2146:
1714:
1712:
1533:
1521:
2534:: CS1 maint: multiple names: authors list (
2023:New Feminist Criticism: Art-Identity-Action
1397:
642:Brooks painted Rubinstein one last time in
236:
2716:
2702:
1709:
1402:. Royal National Institute for the Blind.
1231:Sir Lawrence Alma-Tadema Collection Online
841:
31:
2490:
2399:. New York: Palgrave MacMillan. pp.
2312:. Bloomington: Indiana University Press.
1684:
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1315:
315:, until he died of liver cancer in 1929.
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2012:Langer, 46 and Secrest, 199 and 325–326.
1588:Souhami, 137–139, 146, and Secrest, 277.
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2289:. New York: Farrar, Straus and Giroux.
2204:. New York: Columbia University Press.
1509:; quoted in Lucchesi, "Apparition", 85.
3190:
2613:
2584:
2470:O'Sullivan, Michael (August 4, 2000).
2218:
2175:
2104:
1754:Lucchesi, "Something Hidden", 173–174.
1679:
1191:
1121:
653:Natalie Barney and Left Bank portraits
491:Gabriele D'Annunzio and Ida Rubinstein
297:Self-portrait; Au bord de la mer; 1914
2697:
2633:
2616:"Romaine Brooks: Amazons and Artists"
2472:"Romaine Brooks: Sex and the Sitters"
2284:
1221:
1219:
1217:
1215:
1213:
942:Whistler's work by the art collector
3273:19th-century American women painters
3268:20th-century American women painters
2331:by Whitney Chadwick; Joe Lucchesi".
2195:
1311:
1309:
1187:
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1177:
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976:stars in the history of modernism."
2303:
2176:Cotter, Holland (August 25, 2000).
335:
13:
2725:New Woman of the late 19th century
2614:Warren, Nancy (October 20, 2000).
2391:Doan, Laura; Jane Garrity (2006).
1210:
870:Villa Sant'Agnese, Florence, Italy
231:
14:
3324:
3298:LGBT people from New York (state)
3283:19th-century French women artists
3278:20th-century French women artists
2658:
1615:Elliott and Wallace, 15 and 27n9.
1505:From Brooks's unpublished memoir
1460:Latimer, "Sapphic Modernity", 38.
1306:
1166:
1086:(Smithsonian American Art Museum)
538:, Brooks painted her as a blonde
487:—literally, a victim of stoning.
2642:. San Francisco: HarperCollins.
2570:. New York: St. Martin's Press.
2363:. University of Wisconsin Press.
1069:
1054:
1028:
662:Miss Natalie Barney, "L'Amazone"
536:The Martyrdom of Saint Sebastian
301:
147:
3248:Knights of the Legion of Honour
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2015:
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1047:Smithsonian American Art Museum
672:, an American-born writer, and
143:
3213:20th-century American painters
3208:19th-century American painters
2551:. Garden City, NY: Doubleday.
2219:Duncan, Michael (March 2002).
1570:Lucchesi, "Apparition", 84–85.
1352:
1297:
1288:
1115:
1102:
1:
3313:American expatriates in Italy
2972:(Mary Chavelita Dunne Bright)
2666:Romaine Brooks at WikiCommons
1330:10.1080/02639904.2015.1123548
1091:
1080:
1039:
878:
573:for her fundraising efforts.
3303:American emigrants to France
3223:20th-century French painters
3218:19th-century French painters
3111:The Case of Rebellious Susan
2367:Latimer, Tirza True (2005).
1283:amazons in the drawing room.
1077:La Baronne Emile D’Erlanger
785:Literary portraits of Brooks
720:Peter (A Young English Girl)
7:
3233:Painters from New York City
3077:The Story of a Modern Woman
2495:. New York: HarperCollins.
2491:Rodriguez, Suzanne (2002).
2444:Amazons in the Drawing Room
2241:Women Artists and Modernism
1658:Langer, 45 and Elliott, 74.
955:Legacy and modern criticism
771:Peter, a Young English Girl
16:Portrait artist (1874-1970)
10:
3329:
3263:American portrait painters
2934:Elizabeth Barrett Browning
2803:Jennie Augusta Brownscombe
2599:10.1215/02705346-19-2_56-1
2453:The Modern Woman Revisited
2418:Lockard, Ray Anne (2002).
2359:Langer, Cassandra (2016).
2124:Chadwick, Whitney (2000).
2097:
1259:Chadwick, Whitney (2000).
1239:10.1163/37701_atco_pf_8807
1192:Langer, Cassandra (2015).
1021:
810:. Brooks also appeared in
608:Italian Regency of Carnaro
587:Liberty Leading the People
37:Romaine Brooks, circa 1894
3013:
2995:
2926:
2778:Sophie Gengembre Anderson
2755:
2732:
887:James MacNeill Whistler,
751:Gluck (Hannah Gluckstein)
576:The political imagery of
318:
184:and used a subdued tonal
157:
125:
111:
97:
89:
71:
42:
30:
23:
3308:American lesbian artists
3149:Mrs. Warren's Profession
2848:Wilhelmina Weber Furlong
2543:Secrest, Meryle (1974).
1783:"Romaine Goddard Brooks"
1706:Elliott and Wallace, 20.
1124:"Romaine Brooks: A Life"
1096:
722:(1923-4), a portrait of
388:Archives of American Art
266:. Later, she attended a
237:Early life and education
174:Beatrice Romaine Goddard
47:Beatrice Romaine Goddard
2853:Elizabeth Shippen Green
2843:Susan Stuart Frackelton
2566:Souhami, Diana (2005).
2308:The Amazon and the Page
2237:Deepwell, Katy (1998).
1787:Encyclopedia Britannica
920:Abstract Expressionists
842:Drawings and later life
670:Natalie Clifford Barney
632:Portrait of a Young Man
614:. He was never part of
162:Natalie Clifford Barney
3288:American LGBT painters
3228:French lesbian artists
3029:The Portrait of a Lady
2828:Alice Brown Chittenden
2808:Julia Margaret Cameron
2677:Romaine Brooks gallery
2634:Weiss, Andrea (1995).
2361:Romaine Brooks: A Life
2105:Barnes, Djuna (1992).
2076:www.smithsonianmag.com
2001:Aventures de l'Esprit,
1451:Secrest, 197, 204–206.
1367:Secrest, 123–145, 173.
1194:Romaine Brooks: A Life
1154:Cite journal requires
999:
935:James McNeill Whistler
907:
892:
871:
854:
726:
696:
665:
604:Paris Peace Conference
557:
475:
391:
348:
298:
264:Burlington, New Jersey
206:James McNeill Whistler
3243:French women painters
3137:The Romance of a Shop
2888:Elizabeth Okie Paxton
2737:19th-century feminism
2684:— Trivium Art History
2285:James, Jamie (2019).
2231:on November 23, 2007.
1385:Diana Souhami (2004)
998:. Oil on canvas, 1924
994:
898:
886:
869:
849:
718:
694:
660:
580:has been compared to
548:
480:Robert de Montesquiou
470:
384:Romaine Brooks papers
381:
343:
308:John Ellingham Brooks
296:
216:, the Russian dancer
180:. She specialized in
132:John Ellingham Brooks
3293:French LGBT painters
3238:Doane Academy alumni
3032:(serialized 1880–81)
3005:Alice Freeman Palmer
2903:Jessie Willcox Smith
2196:Doan, Laura (2001).
1597:Rodriguez, 227, 295.
1507:No Pleasant Memories
1398:Morgan, Ted (1980).
1016:Smithsonian magazine
996:Una, Lady Troubridge
860:No Pleasant Memories
743:Una, Lady Troubridge
706:Villa Trait d'Union,
495:In 1909, Brooks met
373:Princess de Polignac
146: 1903;
3156:George Bernard Shaw
3144:George Bernard Shaw
3072:Ella Hepworth Dixon
2959:Ella Hepworth Dixon
2898:Pamela Colman Smith
2838:Emma Lampert Cooper
2742:First-wave feminism
2476:The Washington Post
2430:on October 20, 2006
2333:Woman's Art Journal
2304:Jay, Karla (1988).
2149:Woman's Art Journal
1579:Rodriguez, 295–301.
981:The Cross of France
961:figurative painting
816:Extraordinary Women
779:The Cross of France
596:The Cross of France
578:The Cross of France
562:The Cross of France
554:The Cross of France
526:(also exhibited as
497:Gabriele D'Annunzio
369:16th arrondissement
214:Gabriele D'Annunzio
3258:Symbolist painters
3107:Henry Arthur Jones
2818:Minerva J. Chapman
2727:(born before 1880)
2182:The New York Times
2082:on October 1, 2016
2003:quoted in Jay, 30.
1990:O'Sullivan (2000).
1646:Doan, 114–117 and
1000:
944:Charles Lang Freer
908:
893:
872:
855:
727:
697:
666:
610:, with himself as
558:
476:
431:La Jaquette Rouge,
392:
349:
299:
3183:
3182:
3128:(serialized 1878)
3036:Elizabeth Barrett
3022:Isabel Archer in
2949:Annie Sophie Cory
2649:978-0-06-251313-7
2577:978-0-312-34324-8
2558:978-0-385-03469-2
2521:978-0-8166-4520-6
2502:978-0-06-093780-5
2462:978-0-8135-3292-9
2420:"Brooks, Romaine"
2410:978-1-4039-6498-4
2382:978-0-8135-3595-1
2319:978-0-253-20476-9
2252:978-0-7190-5082-4
2221:"Our Miss Brooks"
2211:978-0-231-11007-5
2139:978-0-520-22567-1
2116:978-0-8147-1180-4
1981:Chadwick, 27, 32.
1962:Secrest, 311–312.
1935:Secrest, 135–136.
1907:"Brooks, Romaine"
1887:Secrest, 376–377.
1869:Souhami, 183–184.
1806:Secrest, 308–310.
1763:Secrest, 286–294.
1420:Secrest, 186–189.
1376:Secrest, 179–181.
1358:Secrest, 108–109.
1278:978-0-520-22567-1
1079:, oil on canvas,
1038:, oil on canvas,
812:Compton Mackenzie
808:The Weeping Venus
749:; and the artist
745:, the partner of
550:La France Croisée
442:Francisco de Goya
284:sexual harassment
167:
166:
3320:
3253:Lesbian painters
3083:Gustave Flaubert
3014:Literature about
2973:
2908:Annie Swynnerton
2873:Elizabeth Nourse
2868:Anna Lea Merritt
2833:Elizabeth Coffin
2773:Nina E. Allender
2718:
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2426:. Archived from
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2078:. Archived from
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1999:Natalie Barney,
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1542:Chadwick, 22–23.
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1530:Chadwick, 27–28.
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937:, whose subdued
924:Aubrey Beardsley
899:Romaine Brooks,
792:Carl Van Vechten
737:; her own lover
616:Benito Mussolini
582:Eugène Delacroix
429:, also known as
416:, and elaborate
336:First exhibition
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75:December 7, 1970
65:Kingdom of Italy
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2793:Enella Benedict
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2747:Women's history
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2262:Feminist Review
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2107:Ladies Almanack
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2052:Rodriguez, 272.
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1972:Masculinities."
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1303:Rodriguez, 223.
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1294:Secrest, 17–42.
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966:gender variance
957:
902:Renata Borgatti
881:
844:
825:Ladies Almanack
802:'s first novel
787:
767:La Belle Époque
739:Renata Borgatti
674:Lily de Gramont
655:
571:Legion of Honor
540:Saint Sebastian
512:Serge Diaghilev
493:
447:La maja desnuda
338:
321:
304:
260:boarding school
239:
234:
232:Life and career
153:
150: 1904)
141:
137:
134:
85:
80:
76:
67:
58:
52:
50:
49:
48:
38:
26:
17:
12:
11:
5:
3326:
3316:
3315:
3310:
3305:
3300:
3295:
3290:
3285:
3280:
3275:
3270:
3265:
3260:
3255:
3250:
3245:
3240:
3235:
3230:
3225:
3220:
3215:
3210:
3205:
3200:
3181:
3180:
3178:
3177:
3165:
3153:
3141:
3129:
3114:
3104:
3100:A Doll's House
3092:
3080:
3069:
3060:Victoria Cross
3057:
3045:
3033:
3019:
3017:
3011:
3010:
3008:
3007:
3001:
2999:
2993:
2992:
2990:
2989:
2984:
2979:
2974:
2970:George Egerton
2966:
2961:
2956:
2951:
2946:
2941:
2936:
2930:
2928:
2924:
2923:
2921:
2920:
2915:
2910:
2905:
2900:
2895:
2890:
2885:
2880:
2875:
2870:
2865:
2860:
2858:Ellen Day Hale
2855:
2850:
2845:
2840:
2835:
2830:
2825:
2820:
2815:
2810:
2805:
2800:
2795:
2790:
2785:
2783:Cornelia Barns
2780:
2775:
2770:
2768:Elenore Abbott
2765:
2759:
2757:
2753:
2752:
2750:
2749:
2744:
2739:
2733:
2730:
2729:
2721:
2720:
2713:
2706:
2698:
2692:
2691:
2685:
2679:
2674:
2669:
2660:
2659:External links
2657:
2655:
2654:
2648:
2631:
2611:
2587:Camera Obscura
2582:
2576:
2563:
2557:
2540:
2520:
2507:
2501:
2488:
2478:. pp. N51
2467:
2461:
2447:
2440:
2415:
2409:
2387:
2381:
2364:
2357:
2324:
2318:
2301:
2295:
2282:
2257:
2251:
2233:
2225:Art in America
2216:
2210:
2193:
2173:
2144:
2138:
2121:
2115:
2101:
2099:
2096:
2094:
2093:
2063:
2054:
2045:
2043:Doan, 116–117.
2036:
2027:
2014:
2005:
1992:
1983:
1974:
1964:
1955:
1946:
1937:
1928:
1919:
1898:
1889:
1880:
1871:
1862:
1853:
1844:
1835:
1826:
1817:
1808:
1799:
1774:
1765:
1756:
1747:
1738:
1736:Cotter (2000).
1729:
1720:
1708:
1699:
1690:
1688:Duncan (2002).
1678:
1669:
1667:Doan, 117–119.
1660:
1651:
1639:
1626:
1617:
1608:
1599:
1590:
1581:
1572:
1563:
1561:Langer, 64–65.
1554:
1544:
1532:
1520:
1511:
1498:
1489:
1480:
1471:
1462:
1453:
1444:
1431:
1422:
1413:
1390:
1378:
1369:
1360:
1351:
1305:
1296:
1287:
1277:
1251:
1209:
1203:978-0299298609
1202:
1165:
1156:|journal=
1114:
1110:Women Together
1100:
1098:
1095:
1093:
1090:
1089:
1088:
1075:
1068:
1066:
1062:Ida Rubinstein
1060:
1053:
1051:
1034:
1027:
1023:
1020:
1005:Elsie de Wolfe
986:Mount Rushmore
956:
953:
880:
877:
843:
840:
800:Radclyffe Hall
786:
783:
747:Radclyffe Hall
654:
651:
528:The Dead Woman
516:Ballets Russes
508:Ida Rubinstein
492:
489:
426:The Red Jacket
408:fashion, with
337:
334:
320:
317:
303:
300:
238:
235:
233:
230:
222:Natalie Barney
218:Ida Rubinstein
202:Walter Sickert
198:Charles Conder
170:Romaine Brooks
165:
164:
159:
155:
154:
139:
135:
130:
129:
127:
123:
122:
113:
109:
108:
99:
98:Known for
95:
94:
91:
87:
86:
81:
79:(aged 96)
73:
69:
68:
59:
46:
44:
40:
39:
36:
28:
27:
25:Romaine Brooks
24:
15:
9:
6:
4:
3:
2:
3325:
3314:
3311:
3309:
3306:
3304:
3301:
3299:
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3294:
3291:
3289:
3286:
3284:
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3269:
3266:
3264:
3261:
3259:
3256:
3254:
3251:
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3241:
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3236:
3234:
3231:
3229:
3226:
3224:
3221:
3219:
3216:
3214:
3211:
3209:
3206:
3204:
3201:
3199:
3196:
3195:
3193:
3186:
3175:
3174:
3169:
3166:
3163:
3162:
3157:
3154:
3151:
3150:
3145:
3142:
3139:
3138:
3133:
3130:
3127:
3126:
3122:
3118:
3115:
3112:
3108:
3105:
3102:
3101:
3096:
3093:
3090:
3089:
3088:Madame Bovary
3084:
3081:
3079:
3078:
3073:
3070:
3067:
3066:
3061:
3058:
3055:
3054:
3053:The Awakening
3049:
3046:
3043:
3042:
3037:
3034:
3031:
3030:
3025:
3021:
3020:
3018:
3016:the New Woman
3012:
3006:
3003:
3002:
3000:
2998:
2994:
2988:
2985:
2983:
2980:
2978:
2975:
2971:
2967:
2965:
2962:
2960:
2957:
2955:
2952:
2950:
2947:
2945:
2942:
2940:
2937:
2935:
2932:
2931:
2929:
2925:
2919:
2916:
2914:
2911:
2909:
2906:
2904:
2901:
2899:
2896:
2894:
2893:Emily Sartain
2891:
2889:
2886:
2884:
2881:
2879:
2878:Violet Oakley
2876:
2874:
2871:
2869:
2866:
2864:
2861:
2859:
2856:
2854:
2851:
2849:
2846:
2844:
2841:
2839:
2836:
2834:
2831:
2829:
2826:
2824:
2823:Émilie Charmy
2821:
2819:
2816:
2814:
2811:
2809:
2806:
2804:
2801:
2799:
2796:
2794:
2791:
2789:
2788:Cecilia Beaux
2786:
2784:
2781:
2779:
2776:
2774:
2771:
2769:
2766:
2764:
2763:Louise Abbéma
2761:
2760:
2758:
2754:
2748:
2745:
2743:
2740:
2738:
2735:
2734:
2731:
2726:
2719:
2714:
2712:
2707:
2705:
2700:
2699:
2696:
2689:
2686:
2683:
2680:
2678:
2675:
2673:
2670:
2668:
2667:
2663:
2662:
2651:
2645:
2640:
2639:
2632:
2621:
2617:
2612:
2608:
2604:
2600:
2596:
2592:
2588:
2583:
2579:
2573:
2569:
2564:
2560:
2554:
2549:
2548:
2541:
2537:
2531:
2523:
2517:
2513:
2508:
2504:
2498:
2494:
2489:
2477:
2473:
2468:
2464:
2458:
2454:
2448:
2445:
2441:
2429:
2425:
2421:
2416:
2412:
2406:
2402:
2397:
2396:
2388:
2384:
2378:
2373:
2372:
2365:
2362:
2358:
2354:
2350:
2346:
2342:
2338:
2334:
2330:
2325:
2321:
2315:
2310:
2309:
2302:
2298:
2296:9780374142766
2292:
2288:
2283:
2279:
2275:
2271:
2267:
2263:
2258:
2254:
2248:
2243:
2242:
2234:
2230:
2226:
2222:
2217:
2213:
2207:
2202:
2201:
2194:
2183:
2179:
2174:
2170:
2166:
2162:
2158:
2154:
2150:
2145:
2141:
2135:
2130:
2129:
2122:
2118:
2112:
2108:
2103:
2102:
2086:September 28,
2081:
2077:
2073:
2067:
2061:Secrest, 292.
2058:
2049:
2040:
2034:Secrest, 199.
2031:
2024:
2018:
2009:
2002:
1996:
1987:
1978:
1968:
1959:
1953:Chadwick, 32.
1950:
1944:Secrest, 186.
1941:
1932:
1926:Secrest, 311.
1923:
1908:
1902:
1896:Souhami, 197.
1893:
1884:
1878:Secrest, 358.
1875:
1866:
1860:Souhami, 194.
1857:
1851:Chadwick, 37.
1848:
1842:Souhami, 178.
1839:
1833:Souhami, 169.
1830:
1821:
1812:
1803:
1788:
1784:
1778:
1769:
1760:
1751:
1745:Chadwick, 36.
1742:
1733:
1727:Chadwick, 33.
1724:
1715:
1713:
1703:
1694:
1685:
1683:
1673:
1664:
1655:
1649:
1643:
1636:
1630:
1621:
1612:
1603:
1594:
1585:
1576:
1567:
1558:
1548:
1539:
1537:
1527:
1525:
1518:Secrest, 248.
1515:
1508:
1502:
1496:Secrest, 243.
1493:
1484:
1478:Secrest, 193.
1475:
1466:
1457:
1448:
1441:
1435:
1426:
1417:
1409:
1405:
1401:
1394:
1388:
1382:
1373:
1364:
1355:
1347:
1343:
1339:
1335:
1331:
1327:
1323:
1319:
1312:
1310:
1300:
1291:
1284:
1280:
1274:
1270:
1265:
1264:
1255:
1240:
1236:
1232:
1228:
1222:
1220:
1218:
1216:
1214:
1205:
1199:
1195:
1188:
1186:
1184:
1182:
1180:
1178:
1176:
1174:
1172:
1170:
1161:
1148:
1133:
1129:
1125:
1118:
1111:
1105:
1101:
1078:
1072:
1067:
1063:
1057:
1052:
1048:
1037:
1036:Dame en Deuil
1031:
1026:
1025:
1019:
1017:
1012:
1008:
1006:
997:
993:
989:
987:
982:
977:
975:
971:
967:
962:
952:
949:
945:
940:
936:
931:
929:
925:
921:
917:
913:
905:
903:
897:
890:
885:
876:
868:
864:
861:
852:
848:
839:
837:
833:
832:
827:
826:
821:
817:
813:
809:
805:
801:
796:
793:
782:
780:
774:
772:
768:
762:
758:
756:
752:
748:
744:
740:
736:
735:Eyre de Lanux
732:
731:Truman Capote
725:
721:
717:
713:
709:
707:
703:
693:
689:
687:
683:
677:
675:
671:
663:
659:
650:
648:
647:
640:
636:
633:
629:
623:
619:
617:
613:
609:
605:
600:
597:
593:
589:
588:
583:
579:
574:
572:
567:
563:
555:
551:
547:
543:
541:
537:
533:
529:
525:
519:
517:
513:
509:
504:
502:
498:
488:
486:
481:
473:
472:White Azaleas
469:
465:
463:
462:White Azaleas
459:
458:
453:
452:Édouard Manet
449:
448:
443:
439:
438:
437:White Azaleas
432:
428:
427:
421:
419:
415:
411:
407:
406:
401:
397:
389:
385:
380:
376:
374:
370:
366:
362:
358:
357:Henri Matisse
354:
353:Pablo Picasso
346:
345:The Black Cap
342:
333:
330:
326:
316:
314:
309:
302:Personal life
295:
291:
287:
285:
281:
277:
272:
269:
265:
261:
257:
253:
252:Doane Academy
248:
245:
229:
225:
223:
219:
215:
209:
207:
203:
199:
195:
191:
187:
183:
179:
175:
171:
163:
160:
156:
133:
128:
124:
121:
117:
114:
110:
107:
103:
100:
96:
92:
88:
84:
74:
70:
66:
62:
45:
41:
34:
29:
22:
19:
3185:
3173:Ann Veronica
3171:
3159:
3147:
3135:
3125:Daisy Miller
3123:
3110:
3098:
3095:Henrik Ibsen
3086:
3075:
3065:Anna Lombard
3063:
3051:
3041:Aurora Leigh
3039:
3027:
2918:Anne Whitney
2883:Rose O'Neill
2863:Laura Knight
2813:Mary Cassatt
2798:Rosa Bonheur
2664:
2637:
2623:. Retrieved
2619:
2593:(56): 1–45.
2590:
2586:
2567:
2546:
2511:
2492:
2480:. Retrieved
2475:
2452:
2443:
2432:. Retrieved
2428:the original
2423:
2394:
2370:
2360:
2339:(2): 44–47.
2336:
2332:
2328:
2307:
2286:
2264:(40): 6–30.
2261:
2240:
2229:the original
2224:
2199:
2185:. Retrieved
2181:
2152:
2148:
2127:
2106:
2084:. Retrieved
2080:the original
2075:
2066:
2057:
2048:
2039:
2030:
2022:
2017:
2008:
2000:
1995:
1986:
1977:
1967:
1958:
1949:
1940:
1931:
1922:
1910:. Retrieved
1901:
1892:
1883:
1874:
1865:
1856:
1847:
1838:
1829:
1820:
1811:
1802:
1790:. Retrieved
1786:
1777:
1768:
1759:
1750:
1741:
1732:
1723:
1702:
1693:
1676:Elliott, 73.
1672:
1663:
1654:
1647:
1642:
1634:
1629:
1624:Wickes, 257.
1620:
1611:
1602:
1593:
1584:
1575:
1566:
1557:
1547:
1514:
1506:
1501:
1492:
1483:
1474:
1465:
1456:
1447:
1439:
1434:
1425:
1416:
1399:
1393:
1386:
1381:
1372:
1363:
1354:
1324:(1): 19–22.
1321:
1317:
1299:
1290:
1282:
1262:
1254:
1244:November 16,
1242:. Retrieved
1230:
1193:
1147:cite journal
1135:. Retrieved
1117:
1109:
1104:
1076:
1061:
1035:
1015:
1013:
1009:
1001:
995:
980:
978:
958:
932:
928:André Masson
909:
904:at the Piano
900:
889:At the Piano
888:
873:
859:
856:
851:The Impeders
850:
831:roman Ă clef
829:
823:
820:Djuna Barnes
815:
807:
803:
797:
788:
778:
775:
770:
763:
759:
755:Luisa Casati
728:
719:
710:
705:
698:
678:
667:
661:
644:The Weeping
643:
641:
637:
631:
624:
620:
601:
595:
591:
585:
584:'s painting
577:
575:
561:
559:
553:
549:
535:
531:
527:
524:The Crossing
523:
520:
505:
500:
494:
484:
477:
471:
461:
455:
445:
435:
430:
424:
422:
420:on display.
405:Belle Époque
403:
400:naturalistic
393:
361:Montparnasse
350:
344:
322:
305:
288:
273:
249:
244:mentally ill
240:
226:
210:
173:
169:
168:
83:Nice, France
77:(1970-12-07)
18:
3203:1970 deaths
3198:1874 births
3168:H. G. Wells
3117:Henry James
3048:Kate Chopin
3024:Henry James
2977:Sarah Grand
2954:Ella D'Arcy
2944:Kate Chopin
2625:November 5,
2482:October 13,
2434:October 13,
2155:(2): 9–14.
1824:Secrest, v.
1718:Langer, 45.
1697:Taylor, 13.
1606:Langer, 46.
1122:Meagher M.
1084: 1924
1043: 1910
970:transgender
948:composition
891:(1858–1859)
702:Dolly Wilde
684:on Paris's
396:Durand-Ruel
313:E.F. Benson
182:portraiture
106:portraiture
90:Nationality
57:May 1, 1874
3192:Categories
2939:Mona Caird
2187:October 2,
1440:Apparition
1438:Lucchesi,
1408:1012118099
1387:Wild Girls
1092:References
918:, and the
879:Influences
828:(1928), a
365:Montmartre
280:life class
53:1874-05-01
2997:Educators
2607:144579965
2530:cite book
1912:March 20,
1552:politics.
1346:163362882
1338:0263-9904
1108:Latimer,
1014:In 2016,
836:Pecksniff
804:The Forge
686:Left Bank
256:Episcopal
120:aesthetic
116:Symbolist
3132:Amy Levy
2982:Amy Levy
2446:, 73–87.
1442:, 75–76.
1132:26430731
912:Fauvists
628:Perugino
410:parasols
325:St. Ives
112:Movement
102:Painting
93:American
3161:Candida
3121:novella
2927:Writers
2756:Artists
2620:SF Gate
2353:1358903
2278:1395274
2169:1358461
2098:Sources
1792:July 4,
1648:passim.
1137:July 6,
1022:Gallery
974:Sapphic
939:palette
916:Cubists
664:(1920).
592:Liberty
556:, 1914)
485:lapidée
457:Olympia
418:bonnets
329:Cornish
327:on the
276:cabaret
268:convent
194:Fauvism
186:palette
158:Partner
152:
140:
136:
3176:(1909)
3164:(1898)
3152:(1893)
3140:(1888)
3113:(1894)
3103:(1879)
3091:(1856)
3068:(1901)
3056:(1899)
3044:(1856)
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