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
began connect
It was only after I began to write fiction that I found a way to connect with painting.
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I wanted to keep a Gothic cathedral alive in my heart.
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The value of writing about art is its effect on the imagination. Paintings allow us to inhabit another culture, place, and time period, and address the issues of those time periods that resonate with our own time.
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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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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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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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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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Archival and published history does not always record personal relationships of historical figures, so characters must be invented to allow the subject to reveal their interior realm through intimate interaction.
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Art history looks at art works and the people who have created them.
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Coming out of the Louvre for the first time in 1971, dizzy with new love, I stood on Pont Neuf and made a pledge to myself that the art of this newly discovered world in the Old World would be my life companion.
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After one hundred days of confinement following a bone marrow transplant, I rejoiced in taking short walks to a nearby park as I was writing 'Girl in Hyacinth Blue.' The uncertainty of my survival made every blade of grass gorgeous in its green intensity, lifting itself up, doing its part to make the world beautiful.
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Landscape is more than flat land covered by floodwater, the seeping of peat bogs, a river of liquid pewter viewed from a sentry tower. It's an influence on what a person values, what she is willing to sacrifice or argue for.
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I suppose it's easier for most writers to create and vivify characters of their own gender.
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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.