Susan Vreeland
Susan Vreeland
Susan Vreeland is an American author. Several of her books deal with the relationship between art and fiction. The Passion of Artemisia is a fictionalised investigation of some aspects of the life of Artemisia Gentileschi, while The Girl in Hyacinth Blue centres round an imaginary painting by Vermeer. The Forest Lover is a fictionalised account of the life of the Canadian painter Emily Carr...
NationalityAmerican
ProfessionAuthor
Date of Birth20 January 1946
CountryUnited States of America
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'Luncheon of the Boating Party,' owned by The Phillips Collection in Washington, D.C., has served Americans as a symbol of France and French culture, both of which I love, and is as evocative and triumphant an image as that other emissary of France, the Statue of Liberty.
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As New York careens toward the modernity of the twentieth century when Gibson girls were transforming themselves into working women, Clara Driscoll enters the male field of stained glass artistry and builds a lively, multi-national, multi-class women's department within Tiffany Studios.
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For a century, everyone assumed that the iconic Tiffany lamps were conceived and designed by that American master of stained glass. Not so! It was a woman!
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It was only after I began to write fiction that I found a way to connect with painting.
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Where there is no human connection, there is no compassion. Without compassion, then community, commitment, loving-kindness, human understanding, and peace all shrivel. Individuals become isolated, the isolated turn cruel, and the tragic hovers in the forms of domestic and civil violence. Art and literature are antidotes to that.
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Writers have to be observant. Every nuance, every inflection in a voice, the quality of air, even - they all get mixed up in this soup of the story developing in our minds.
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When I was nine, my great grandfather, a landscape painter, taught me to mix colors. With his strong hand surrounding my small one, he guided the brush until a calla lily appeared as if by magic on a page of textured watercolor paper.
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I pored over art books and absorbed the placidness of Monet's garden, the sparkling color of the Impressionists, the strength and solidity of Michelangelo's figures showing the titanic power of humans at one with God, Jan Vermeer's serene Dutch women bathed in gorgeous honey-colored light... My conviction grew that art was stronger than death.
owns
I don't know if a historian or scholar owns an opinion.
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When I see Tiffany windows in churches across the United States, I get a sense of spiritual upliftment from that.
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Two of my grandfathers had been artists, lifelong oil painters, so I was exposed to art very young. I've always been interested in it, although I never pursued it as a career or even as an avocation.
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I write about art out of gratitude to painters for the joy and spiritual uplift they have given me. Painters interpret for us the visual glories of God and, in this way, bring us closer to Him.
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I absorbed as many Impressionist paintings as I could, in Parisian museums and in many museums in the United States and in books, looking for clues to architecture, clothing, settings.
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Whatever it is that can help to bring God close is something to be revered.