The Passion of Artemisia by Susan Vreeland

They also rely on the toned down feminist assumption that art may be rewritten in order to unveil the story of the woman behind the scene. Such novels mingle text and image, becoming what Liliane Louvel calls an ‘iconotext’ (Louvel 15).

Novels like Tracy Chevalier’s Girl With a Pearl Earring or Susan Vreeland’s The Passion of Artemisia 1 address a middle-brow rather than low-brow readership, which is supposed to be curious, but not too knowledgeable, about art. An example of such popular realistic fiction might be the latest fashionable recipe for feminine bestsellers, novels which feature paintings, a woman painter and/or model. Strangely enough, many women writers thus tend to favour realism, a ‘critical disadvantage’ since the literary establishment ‘privileges postmodern fiction with discontinuous narrative shifting personas subtle, impressionistic use of language’ (Payant 4). Payant points out that contemporary popular fiction by women has assimilated feminist discourse yet refuses to conform to the feminist injunction to ‘write the body’ and invent a new, liquid kind of feminine language which might break the mould of patriarchy. 2 She uses at times an anachronistic simplicity, a device which is recurrent in popular fiction.ġ Katherine B.1 After yielding as well to the fascination of Vermeer in her first book (Girl in Hyacinth Blue), Sus (.).Urn:lcp:passionofartemis00vree_0:epub:a31af1d7-5a51-40f7-a55b-9d854beba46f Extramarc University of Toronto Foldoutcount 0 Identifier passionofartemis00vree_0 Identifier-ark ark:/13960/t9572rb0k Invoice 11 Isbn 9780142001820Ġ142001821 Ocr_converted abbyy-to-hocr 1.1.20 Ocr_module_version 0.0.17 Openlibrary OL19940889M Openlibrary_edition

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The Passion of Artemisia by Susan Vreeland