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Hashtag
#romainebrooks
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Die #Ausstellung "Queere Moderne. 1900-1950" zeigt in #Düsseldorf in der #Kunstsammlung #Nordrhein-Westfalen ab dem 27.09.2025 über 130 Werke von internationalen Künstler*innen.
#K20 #ClaudeCahun #HannahHöch #JeanCocteau #RomaineBrooks #MarlowMoss #RichmondBarthé #NRW #Exhibition #gender #ModernArt
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Ida Rubinstein, 1917 - Romaine Brooks (1874-1970), artiste peintre symboliste anglo-américaine.
#peinture
#peinturesymboliste
#symbolisme
#RomaineBrooks
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Una, Lady Troubridge, 1924 - Romaine Brooks (1874-1970), artiste peintre symboliste anglo-américaine.
#peinture
#peinturesymboliste
#symbolisme
#RomaineBrooks
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Autoportrait, 1923 - Romaine Brooks (1874-1970), artiste peintre symboliste anglo-américaine.
#peinture
#peinturesyboliste
#symbolisme
#RomaineBrooks
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Printemps (Spring), vers 1910 - Romaine Brooks (1874-1970), peintre symboliste américaine.
#peinture
#nudeart
#peinturesymboliste
#symbolisme
#RomaineBrooks
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British aristocrat, sculptor, and writer Una Vincenzo, Lady Troubridge (born Margot Elena Gertrude Taylor) is best remembered for her numerous translations from French and Italian, and is credited with introducing the French novelist Colette to English readers. She also wrote a biography of her longtime partner, Marguerite "John" Radclyffe Hall, author of the 1928 pathbreaking lesbian novel, “The Well of Loneliness.” In 1908, Una married Admiral Sir Ernest Thomas Troubridge, but the union ended when she met Hall in 1915. Hall introduced Troubridge to American artist Romaine Brooks, who captured her in this 1924 portrait. Troubridge appears with a sense of formality and importance typical of upper-class portraiture, but dachshunds in place of a traditional hunting dog. The dachshunds were a prize-winning pair given to her by Hall. Troubridge's impeccably tailored clothing, cravat, and bobbed hair convey the fashionable and daring androgyny associated with the so-called new woman. The black tailored man's morning suit conceals her feminine figure, and her pose suggests absolute control; note how Troubridge grasps one of the dog's collars. Brooks intended the portrait to be a caricature of her friend as a headstrong, demanding woman, and noted in a letter that this was "a sign of the age which may amuse future feminists." Her monocle suggested multiple symbolic associations to contemporary British audiences: it alluded to Troubridge's upper-class status, her Englishness, her sense of rebellion, and, possibly, her lesbian identity. Brooks, born Beatrice Romaine Goddard to a wealthy, unbalanced woman estranged from her husband before Romaine's birth, had a miserable and unstable childhood leaving Romaine scarred from a lack of affection and acceptance. Inheritance of the huge family fortune in 1902 granted her independence to meet an avant-garde group of artists, writers, and intellectuals with whom she associated in Rome, Capri, Paris, and the French Riviera.
“Una, Lady Troubridge” by Romaine Brooks (American) - Oil on canvas / 1924 - Smithsonian American Art Museum (Washington DC) #WomenInArt #art #WomanArtist #FemaleArtist #WomensArt #SAAM #Smithsonian #RomaineBrooks #WomenArtists #artwork #1920s #portraitofawoman #style #fashion #UnaVincenzo #portrait
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Italian poet Gabriele d'Annunzio’s description of this brooding portrait by American artist Romaine Brooks was displayed alongside the work during its first exhibition in a Paris gallery. “Have they hoisted the acrid sponge on the tip of the lance; Against her beauteous mouth elated with the sacrament: The cross without Christ, who suffers above her breast; Is nought but the double wound born in silence.” In La France Croisée, Brooks voiced her opposition to World War I and raised money for the Red Cross and French relief organizations. She painted a windswept female figure as a crusader and the personification of France — heroically posed in a nurse's uniform, with cross emblazoned against her dark cloak. She based the woman's strong features on those of Russian ballet dancer and Brooks’ lover at the time Ida Rubinstein. The figure's chiseled features and stern gaze set against the backdrop of a burning city evoke a sense of defiance and strength. The city represents Ypres in western Belgium, the site of a brutal battle during the first year of World War I. The emblem on Rubinstein's shoulder evokes the bloodshed of war, but the brilliant red may also signal the painter's passion for the actress. This symbolic portrait of a valiant France was exhibited in 1915 at the Bernheim Gallery in Paris, France along with four accompanying sonnets written by D'Annunzio. The gallery offered reproductions for sale as a benefit to the Red Cross. For her contributions to the war effort, the French government awarded Brooks the Cross of the Legion of Honor in 1920. This award is visible as the bright red spot on Brooks's lapel in her 1923 Self-Portrait.
La France Croisée (The Cross of France) by Romaine Brooks (American) - Oil on canvas / 1914 - Smithsonian American Art Museum (Washington DC) #womeninart #art #RomaineBrooks #oilpainting #SmithsonianAmericanArtMuseum #womanartist #womensart #femaleartist #ArtText #womenartists #portraitofawoman
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In 1911, American painter Romaine Brooks met Russian dancer and arts patron Ida Rubinstein in Paris after Rubinstein's first performance as the title character in Gabriele D'Annunzio's play "The Martyrdom of St. Sebastian" (for which Rubinstein was excommunicated by the Parisian archbishop because she starred as St Sebastian, a Catholic saint, while she was a Jewish woman). Rubinstein was already well known for her refined beauty and expressive gestures; she secured her reputation as a daring performer by starring as the male saint in this boundary-pushing show that combined religious history, androgyny, and erotic narrative. D’Annunzio had an obsessive but unrequited attraction to Rubinstein, whereas Rubinstein fell deeply in love with Brooks ... and a romantic triangle unfolded. Rubinstein was so committed to Brooks that she wanted to buy a farm in the country where they could live together undisturbed, yet Brooks was not interested in hiding at all. Brooks found her ideal -- and her artistic inspiration -- in the tall, lithe, sensuous Rubinstein, who modeled for many sketches, paintings, and photographs Brooks produced during their relationship, from 1911 to 1914. In her autobiographical manuscript, "No Pleasant Memories," Brooks said the inspiration for this portrait came as the two women walked through the Bois de Boulogne on a cold winter morning. The couple split around 1914. Was it because of another woman? Some say Brooks had already met her future lover – Natalie Clifford Barney, an American-born writer – in 1914, others say in 1916. Anyway, the relationship with Barney was the longest and most important for Brooks. It was, however, yet another triangle, as they shared their lives with Lily de Gramont. Nonetheless, Brooks couldn’t forget Rubinstein, and she painted her one last time in The Weeping Venus (1916-1917). She said she tried to repaint Venus’ facial features many times, but Rubinstein’s face kept haunting her: “It fixes itself in the mind.”
Ida Rubinstein by Romaine Brooks (American) - Oil on canvas / 1917 - Smithsonian American Art Museum (Washington DC) #womeninart #art #oilpainting #womensart #artwork #womanartist #femaleartist #portraitofawoman #SAAM #RomaineBrooks #womenpaintingwomen #womenartists #SmithsonianAmericanArtMuseum
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"And the artist within me, the urge for sacrifice and hard work, those undeniable signs of the artist?
Then and there I was resolved to be consistent, to obey no other urge than that of my art…”
#RomaineBrooks
open.substack.com/pub/cultures...
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Romaine Brooks, born Beatrice Romaine Goddard (May 1, 1874 – December 7, 1970), was an American painter who worked mostly in Paris and Capri.
Self-Portrait, 1923, oil on canvas, Smithsonian American Art Museum, Gift of the artist, 1966.49.1
#BornOnThisDay #SelfPortrait #RomaineBrooks
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American painter Beatrice Romaine Goddard, better known as Romaine Brooks, was BOTD in 1874. #romainebrooks #supergays #bornonthisday
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Romaine Brooks, born Beatrice Romaine Goddard in 1874, was an American painter who worked mostly in Paris and Capri. She specialized in portraiture and used a subdued tonal palette keyed to the color gray. Brooks ignored contemporary artistic trends such as Cubism and Fauvism, drawing on her own original aesthetic inspired by the works of Charles Conder, Walter Sickert, and James McNeill Whistler. Her subjects ranged from anonymous models to titled aristocrats. She is best known for her images of women in androgynous or masculine dress, including this self-portrait of 1923, which is her most widely reproduced work. Brooks’s came from wealth which afforded her freedom other women at the time could only dream. She was free to shake off the restrictive limits of women artists to include female nudes in her early exhibits and take classes in which she was the only woman. After a brief, tumultuous marriage to John Ellingham Brooks, she rejected monogamy and, largely, men, even as subjects. In 1915 she met Natalie Clifford Barney, a leading host of salons in Paris, and the couple began a five-decade nonmonogamous relationship. Despite their deep bond, the two women maintained near total independence, living in a home with separate wings and both having relationships (some serious) with other women. In an era still dominated by men, Brooks leaned into the subculture to which she belonged and painted largely her own friends and lovers. Her portrait depicts her as an artist who eschewed gender via a mode of dress that was both fashionable at the time and a signal of her sexuality. Brooks was part of a growing, but still little-known group of women who wore men’s clothes and cut their hair short not just to embrace the 1920s androgyny trend, but to communicate to others in the know that they were lesbians.
Self-Portrait by Romaine Brooks / Beatrice Romaine Goddard (American) - Oil on canvas / 1923 - Smithsonian American Art Museum (Washington DC) #womeninart #womanartist #art #selfportrait #oilpainting #smithsonian #RomaineBrooks #artwork #portraitofawoman #womenpaintingwomen #womensart #femaleartist
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