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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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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Each time we enter imaginatively into the life of another, it's a small step upwards in the elevation of the human race.
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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.
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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.
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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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When I learned that near Roussillon there were ochre quarries and mines from which was extracted the ore which produced pigments in all the warm hues of the color wheel, I had a substantial artistic link to this region beyond mere love.
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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 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.
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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.