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Adventures, Travel, Japan
Return to Book Page. The Lady in the Veil by Leah Fleming. It must have been sitting on the garage shelf for years among all the other family rejects. But one image in particular stands out: a baby sitting in the lap of its mother, both drape 'I found the photograph album by chance when we were clearing out the old coach house. But one image in particular stands out: a baby sitting in the lap of its mother, both draped from head to toe in a cotton lace curtain or something, completely enveloped and unrecognizable. Who are they and what has happened to them?
In a story that moves between and , the shocking secrets of one family are gradually revealed … Get A Copy. Kindle Edition , pages. More Details Other Editions 2. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Lady in the Veil , please sign up. Lists with This Book.
Raphael: The Woman with the Veil | Nevada Museum of Art
Community Reviews. By the time I was fifty I no longer could read J. Salinger or Ernest Hemingway. Regarding myself as neither art historian nor literary critic, I escape the chore of having to discern zeitgeists and deconstruct paradigms. Although the Allies had won the war against Hitler won it in the name of democratic freedom and Western civilization , they appeared to be losing the peace to Stalin and the systems of totalitarian repression, and what was afoot in the s was a contest for the good opinion of mankind.
The CIA undertook to suppress the rumors, directing the tactical movement of art exhibits to Venice, music festivals to Rome. No, by God, America was a great country, as rich in artists as it was in steel or corn, and here to prove it on the wall in Paris is the Abstract Expressionism of Jackson Pollock—a real American from Cody, Wyoming, not a Hungarian refugee or a Princeton homosexual; virility incarnate, reckless and heavy-drinking, a fountain of acrylic orgasm; just the sort of fellow to represent the virtues of free enterprise, and whose paintings, nonfigurative and incoherent, embodied the antithesis of Soviet socialist realism.
The aesthetic stamped with the seals of government approval matched the one embraced by the Beat poets howling in the California wilderness, marking out the road into an ecstatic future unregulated by death and taxes. To be a poet is to have a soul so quick to discern that no shade of quality escapes it, and so quick to feel that discernment is but a hand playing with finely ordered variety on the chords of emotion—a soul in which knowledge passes instantaneously into feeling, and feeling flashes back as a new organ of knowledge.
One may have that condition by fits only. Usually I found myself on the wrong side of the critique, in some quarters regarded as an obsolete romantic, in others as a trivial bourgeois.
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The Bauhaus architecture I thought better suited for a barracks or a penitentiary; in the paintings of Mondrian and Kandinsky I could recognize little else except the surface of a decorative design. Despite four years of being told that art was somehow sacred, divorced from all sakes other than its own, I never learned to prefer the comprehension of the theory of the thing to a naive delight in the thing itself.
But in what was then the spirit of the times, the side of the argument on which anybody came down, against Haydn and for Stravinsky, with the early or the late Picasso, mattered less than the shared belief among all the voices in the room that it was art and literature that were to be looked to for the light on the far and fair horizon. The certainty was in line with the generous idealisms expressed in President Franklin D.
Woman With Veil Paintings
Surely the United States could produce something equally impressive. Was not America richer than any other country known to history? Were not its weapons more terrible, its virtues more abundant? How then could its painting not be more luminous, its literature more profound, its music more sublime?
Woman with a Veil, 1927 by Henri Matisse
The passionate objections and statements of noble principle were transposed into the key signatures of the Civil Rights movement and the opposition to the Vietnam War, proofs of the higher consciousness spray-painted on T-shirts, hoisted on the signs of protest. If in the s the young and aspiring writer hoped to become a novelist or a playwright, thirty years later the ambition had been replaced with the thought of becoming a critic, a journalist, or a policy intellectual, possibly a television talking head.
The generation of writers weaned on Cold War propaganda and CIA subsidy adopted the trade craft of literary realpolitik to variant doctrines of political correctness, the combatants on both the left and right construing culture as ideology, the frivolous adjective modifying the sober noun—cultural identity, cultural diversity, cultural policy-objective. The love of language once inherent in a distinctive literary style not only fell out of favor but was placed under suspicion as an un-American activity. Among New York editors it was assumed that a writer who clogged the data streams with arresting turns of phrase could not be trusted to impart the truth.
Prado Museum, Madrid, Spain.
It was not enough merely to look at a battered rubber woman or a pair of gold-plated tennis sneakers. Novels that in the s set out to discover how it is with man in the company of other men gave way in the s to the writing of memoirs intent upon discovering that when one really had a chance to think about it, the world and all its troubles were really all about me. The authors who would be king placed stylish gestures of self-loathing on the altar of self-promotion.
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