The short story, Olympia’s Look, by Suzanne Vreeland describes Suzanne Manet’s response to the death of her husband, Edouard Manet. Vreeland portrays Suzanne as a quiet woman. Suzanne seems to be a bit of a pushover; she overlooked the multiple affairs her husband had, silently hoping he might confide in her, and was always by his side when he needed her. She is self-described as a “Dutch wife,” which implies that her household duties and minding to her husband and son were the most important aspects of her life. She also suggests that she is fearful of the future, without her husband, and having to take care of herself. This, again, makes me feel like her responsibilities as a wife, and the companionship she felt with Manet, played a significant role in her life prior to his death.
One passage that perfectly describes Suzanne’s knowledge and anticipation of the changes her life is about to incur is: “The next morning she begun her private program of self development. She would be alone…She’d have to speak her mind…How inconsequential her first efforts were. Helene, this soup is cold, and, Edouard, I’d prefer the window closed. At least it was a start.” This passage shows her readiness to become more self-spoken and reliant. She has decided to become the type of woman who won’t let her wishes float to the wayside in order to please some one else. She has decided to stickup for herself and not let people walk all over her. I believe this is because she is afraid of what could happen to her, now that she is on her own, if she were to be so easily manipulated and serve others before herself. This new side of Suzanne is one of a strong, proud woman; one who will survive any of life’s torments.
The second passage I find very relevant in determining Suzanne’s new personality is taken from her visit to Victorine’s house: “She realized she must be looking at Victorine in Victorine’s own way, imperiously, but as ‘the wife.’ She saw it reflected in the speck of fear in Victorine’s eye, and felt a mounting thrill of exhilaration as she sat there...knowing that she commanded it even more because Victorine needed what she could give her, known what she would say next.” This, I think, is the point at which Suzanne realizes that Victorine will never know the true love that her and Manet shared. As she continues to reveal detail after disturbing detail of Manet’s last days, she discovers that she was the only one he cared to be with. She was the one who held him through the pain and suffering, who stayed up at night and talked him through his nightmares and who brought him back to happier times by sharing stories and memories they had together. This is the most important realization for Suzanne because, even if she were a self-sufficient woman, she would always feel the emptiness of not believing she had been good enough for her husband. In this moment she recognizes that she was the best thing that ever happened to Manet and she can be content with their marriage, despite the infidelity. I feel that she now has the freedom to move on with her life and, when she thinks of her late husband, she will simply remember the happiness and love that they shared.
Thursday, February 26, 2009
Tuesday, February 3, 2009
Alice Neel
Jenny by Alice Neel, 1969
Hills, Patricia. Alice Neel. New York, NY: Harry N. Abrams, Inc., 1983. Pg. 10.
Annotated Bibliography
Andrew Barker, "Alice Neel Documentary." Variety Films. 1 Feb 2009 .
“Painting was more than a profession, it was also an obsession. I had to paint.”
–Alice Neel
Alice Neel experienced some enormous tragedies in her life including the death of her first born daughter, abandonment by her husband and a nervous breakdown resulting in an attempted suicide. The film her grandson, Andrew Neel, directed discusses these tragedies and how her art thrived from them. Her two sons, both interviewed in the documentary, tell of her parenting skills, not in a demeaning manner, but rather as if, had she been a better mother, her art would have suffered. It is suggested that she was almost selfishly obsessed, making others sacrifice for the sake of her art. Most of her paintings were of nobodies, including pregnant women, the poor, people of color, children and elderly, meaning much of her audience couldn’t afford her portraits. In fact, at the time of her death much of her work remained in her home. The film portrays her distinct, shocking, evocative style, which remained unchanged throughout the many eras of popular art during her life.
Carr, Carolyn. Alice Neel: Women. New York, NY: Rizzoli International Publications, 2002.
This book speaks of Neel’s attraction to women in her paintings. Although she was also fond of male subjects, the focus is on the nude and Madonna paintings she has done. It is suggested that her experiences with motherhood as well as childbirth and children, is vividly displayed through the evolution of her paintings. She experienced multiple fazes of female portraiture ranging from motherhood and pregnancy, children and their mothers, children or infants and, finally, nude portraits. The portrait Jenny (in this book there are two portraits of Jenny which were interchangeably referred to as Peff Modelski as well) was painted shortly after the birth of her first grandchild in 1967 where her portraits of children became larger, more brightly colored and portrayed children who were eager, curious and self-obsessed. The bright colors and curious expression in the 1969 portrait of Jenny suggest that this painting followed suit with the rest of her work during this time.
Hills, Patricia. Alice Neel. New York, NY: Harry N. Abrams, Inc., 1983.
This book is based on a number of lengthy interviews with Alice Neel. Most of the biography is quoted directly from the conversations between Neel and the author with biographical inserts clarifying dates, places and events in Neel’s life. I enjoyed the information provided in this book because it was spoken directly from the artist herself and she speaks beautifully, telling intimate details of her life and painting vibrant descriptions with her words. It really gave me a feel for who she was through, simply, a few pages of her life’s stories. Although the chapter that I read did not provide any new details on her background or the portrait Jenny, it was a useful source of research and a genuinely enjoyable read.
“Painting was more than a profession, it was also an obsession. I had to paint.”
–Alice Neel
Alice Neel experienced some enormous tragedies in her life including the death of her first born daughter, abandonment by her husband and a nervous breakdown resulting in an attempted suicide. The film her grandson, Andrew Neel, directed discusses these tragedies and how her art thrived from them. Her two sons, both interviewed in the documentary, tell of her parenting skills, not in a demeaning manner, but rather as if, had she been a better mother, her art would have suffered. It is suggested that she was almost selfishly obsessed, making others sacrifice for the sake of her art. Most of her paintings were of nobodies, including pregnant women, the poor, people of color, children and elderly, meaning much of her audience couldn’t afford her portraits. In fact, at the time of her death much of her work remained in her home. The film portrays her distinct, shocking, evocative style, which remained unchanged throughout the many eras of popular art during her life.
Carr, Carolyn. Alice Neel: Women. New York, NY: Rizzoli International Publications, 2002.
This book speaks of Neel’s attraction to women in her paintings. Although she was also fond of male subjects, the focus is on the nude and Madonna paintings she has done. It is suggested that her experiences with motherhood as well as childbirth and children, is vividly displayed through the evolution of her paintings. She experienced multiple fazes of female portraiture ranging from motherhood and pregnancy, children and their mothers, children or infants and, finally, nude portraits. The portrait Jenny (in this book there are two portraits of Jenny which were interchangeably referred to as Peff Modelski as well) was painted shortly after the birth of her first grandchild in 1967 where her portraits of children became larger, more brightly colored and portrayed children who were eager, curious and self-obsessed. The bright colors and curious expression in the 1969 portrait of Jenny suggest that this painting followed suit with the rest of her work during this time.
Hills, Patricia. Alice Neel. New York, NY: Harry N. Abrams, Inc., 1983.
This book is based on a number of lengthy interviews with Alice Neel. Most of the biography is quoted directly from the conversations between Neel and the author with biographical inserts clarifying dates, places and events in Neel’s life. I enjoyed the information provided in this book because it was spoken directly from the artist herself and she speaks beautifully, telling intimate details of her life and painting vibrant descriptions with her words. It really gave me a feel for who she was through, simply, a few pages of her life’s stories. Although the chapter that I read did not provide any new details on her background or the portrait Jenny, it was a useful source of research and a genuinely enjoyable read.
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