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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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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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 would like to bring people who have never been to a museum into a museum. And I would like to bring museum goers into libraries. I think there ought to be this cross-fertilization.
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Susan B. Anthony said that the bicycle did more to emancipate women than any other single thing. The bicycle was linked in the psyches of women at that time as a symbol of practical emancipation. Women could go places, wear their skirts shorter to manage the bicycle, and be independent.
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To feel the grace of God in a painting of the dear, quiet commonness of a domestic interior, or in a landscape, seascape, cityscape, trains us to feel the grace of God in the thing itself in situ.
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Whatever it is that can help to bring God close is something to be revered.
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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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'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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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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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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There is so much strife and tension in the world that I find the silent world of paintings from the past both hopeful and healing.
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To me, art begets art. Painting feeds the eye just as poetry feeds the ear, which is to say that both feed the soul.
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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.