zaterdag 3 december 2016
Study of Noses, pencil drawing.
Charlotte Brontë: An Independent Will. Reviewed by Ed Voves and Anne Lloyd.
Charlotte Brontë: An Independent Will
The Morgan Library and Museum
September 9, 2016 through January 2, 2017
Reviewed by Ed Voves and Anne Lloyd.
Charlotte Brontë's life was like a Victorian "three-decker" novel. Her incredible rise from obscurity to become a literary sensation with the publication of Jane Eyre in 1847 was followed by staggering family tragedies, then marriage, brief happiness and early death in 1855.
What sounds like the plot of one of her novels was actually Charlotte Brontë's path to immortality.
The Morgan Library and Museum in New York City has organized an exhibition in honor of the bicentennial of Brontë's birth. With the cooperation of the Brontë Parsonage Museum in Haworth, Yorkshire, and the National Portrait Gallery and the British Library in London, the Morgan's exhibit is worthy of Brontë's life and achievement. Charlotte Brontë: An Independent Will sets a standard of curatorial excellence that will be hard to top.
Earlier this year, I reviewed part of this exhibition as it appeared at the National Portrait Gallery. The Morgan's exhibit, drawing upon three international famed institutions, is vaster in scale and superlative in the quality of the objects on display.
In the earlier post, I focused upon the 1850 portrait of Charlotte Brontë, created by George Richmond. It was a gift to Bronte's father, Patrick, from her publisher, George Smith. In this review, I will comment upon several of the other Brontë treasures on view in the spectacular exhibit at the Morgan.
Born two hundred years ago in 1816, Charlotte Brontë was a product of what used to be dismissively referred to as England's "Celtic Fringe." Her father, the Rev. Patrick Brontë was born in Ireland in 1777, while her mother's family came from Cornwall. Charlotte Brontë was also a strong-willed Yorkshire woman at a time when the northern regions of England were the epicenter of the Industrial Revolution. She also represented, along with her sisters Emily and Anne, the final flowering of the literature of the Romantic Rebellion. Seldom has one little woman embodied so much British history and so much individual achievement in one, very brief life.
And Charlotte Brontë was a little woman. In physical stature, that is. According to the joyner who made her coffin, she measured four feet, nine inches.
Born two hundred years ago in 1816, Charlotte Brontë was a product of what used to be dismissively referred to as England's "Celtic Fringe." Her father, the Rev. Patrick Brontë was born in Ireland in 1777, while her mother's family came from Cornwall. Charlotte Brontë was also a strong-willed Yorkshire woman at a time when the northern regions of England were the epicenter of the Industrial Revolution. She also represented, along with her sisters Emily and Anne, the final flowering of the literature of the Romantic Rebellion. Seldom has one little woman embodied so much British history and so much individual achievement in one, very brief life.
And Charlotte Brontë was a little woman. In physical stature, that is. According to the joyner who made her coffin, she measured four feet, nine inches.
The first object to greet visitors to the Morgan exhibit is one of Charlotte Brontë's dresses, the so-called "Thackeray dress". Brontë is reputed to have worn this dress to an ill-fated dinner party at the home of William Makepeace Thackeray on June 12, 1850. She almost certainly did not wear the dress to dinner. But the story illustrates the "outsider" position of Brontë - and her sisters - in the British literary scene of the 1840's and 1850's.
The Brontë dress on view at the Morgan is of a type known as delaine dress. The word "delaine" originally referred to woolen dresses. By 1850, the term was used for light-weight dresses made of various printed fabrics, including wool-cotton mix as in the case of this dress.
The Brontë dress on view at the Morgan is of a type known as delaine dress. The word "delaine" originally referred to woolen dresses. By 1850, the term was used for light-weight dresses made of various printed fabrics, including wool-cotton mix as in the case of this dress.
Historian Eleanor Houghton of the University of Sussex has made a detailed study of this dress. She believes that Charlotte Brontë likely wore the dress for daytime business or social meetings, including one with Thackeray prior to the dinner party. The style was certainly acceptable for daytime use in 1850. But it would have been a laughable blunder to wear it at a dinner party when silk dresses were the norm. Charlotte Brontë was extremely sensitive about her appearance, so much so that she refused to have photos taken of herself when she was married in 1854.
Thackeray's thirteen-year old daughter, Anne, left a vivid account of the dinner party. She described Charlotte Brontë as "a tiny delicate, serious little lady, pale with fair straight hair, and steady eyes. She may be a little over thirty; she is dressed in a little barège dress, with a pattern of faint green moss."
According to Houghton, barège was a mix of woolen and silk threads, very much in fashion for evening dresses in 1850. When it came to fabrics, Charlotte Brontë clearly knew her "stuff."
Thackeray's thirteen-year old daughter, Anne, left a vivid account of the dinner party. She described Charlotte Brontë as "a tiny delicate, serious little lady, pale with fair straight hair, and steady eyes. She may be a little over thirty; she is dressed in a little barège dress, with a pattern of faint green moss."
According to Houghton, barège was a mix of woolen and silk threads, very much in fashion for evening dresses in 1850. When it came to fabrics, Charlotte Brontë clearly knew her "stuff."
To focus upon the "Thackeray" dress may seem obsessive, when the Morgan exhibit is bursting with "once-in-a-lifetime" treasures, including the manuscript of Jane Eyre. Yet, it is worth considering this dress along with a famous quote by Brontë who was responding to critics of Jane Eyre. "To you I am neither Man nor Woman - I come before you as an Author only - it is the sole standard by which you have a right to judge me - the sole ground on which I accept your judgement."
Brontë published Jane Eyre under the nom de plume, Currer Bell. When she and her sisters, Emily and Anne decided to "earn their fortune" as professional writers they chose enigmatic male names, Currer, Ellis and Acton, respectively. The surname "Bell" was, perhaps coincidentally, the middle name of their father's assistant curate and Charlotte's eventual husband, Arthur Bell Nicholls.
Brontë published Jane Eyre under the nom de plume, Currer Bell. When she and her sisters, Emily and Anne decided to "earn their fortune" as professional writers they chose enigmatic male names, Currer, Ellis and Acton, respectively. The surname "Bell" was, perhaps coincidentally, the middle name of their father's assistant curate and Charlotte's eventual husband, Arthur Bell Nicholls.
The Brontë sisters tried every form of employment deemed suitable for gentlewomen to earn their bread. Governessing, managing a school of their own, all that was now at an end. Their hearts were not in it and their brother Branwell's erratic behavior forbade housing students even if they could find any.
A legacy left to the sisters by their Aunt Branwell allowed them some financial freedom, but it wasn't a complete answer. In the autumn 1845, during this time of uncertainty , Charlotte Bronte came across her sister's Emily's poems. They electrified her. Charlotte faced down Emily's fury and insisted that the poems must be put before the public. The rest is history.
Charlotte Brontë, aka Currer Bell, had the right to insist upon being judged "as an Author only." Though politically conservative, Charlotte Brontë was in the vanguard of the eminent Victorian women who would stubbornly smash the barriers of the "Old Boy" British establishment.
A legacy left to the sisters by their Aunt Branwell allowed them some financial freedom, but it wasn't a complete answer. In the autumn 1845, during this time of uncertainty , Charlotte Bronte came across her sister's Emily's poems. They electrified her. Charlotte faced down Emily's fury and insisted that the poems must be put before the public. The rest is history.
Charlotte Brontë, aka Currer Bell, had the right to insist upon being judged "as an Author only." Though politically conservative, Charlotte Brontë was in the vanguard of the eminent Victorian women who would stubbornly smash the barriers of the "Old Boy" British establishment.
The "Thackeray" dress, Charlotte Brontë's portable writing desk, the Richmond's portrait and the manuscript of Jane Eyre testify to the front-row place which Charlotte Brontë earned for herself among the "greats" of English literature. But these objects from Brontë's later life can only be understood in terms of the wondrous "little books" and poems which she and her siblings created as children.
On display at the Morgan exhibit is a miniature manuscript book with water color drawings. It is dated to 1828, when the nine-year old Charlotte created this tiny treasure for her younger sister, Anne, later the author of The Tenant of Wildfell Hall.
On display at the Morgan exhibit is a miniature manuscript book with water color drawings. It is dated to 1828, when the nine-year old Charlotte created this tiny treasure for her younger sister, Anne, later the author of The Tenant of Wildfell Hall.
There once was a little girl and her name was Ane” reads the opening line of Charlotte Brontë’s first tale, complete with misspelling. Looking at this incredible work of love, one is struck by the unshakable thought that here is “genius" or at least the seed of genius.
The Brontë treasures, currently on view in the gallery of the Morgan Library, certainly testify to one of the great sagas of creativity in human history. Why else would we continue to read Jane Eyre, Wuthering Heights, Villette and The Tenant of Wildfell Hall? Why else would we throng to an exhibition such as Charlotte Brontë: An Independent Will at the Morgan Library?
The Brontë treasures, currently on view in the gallery of the Morgan Library, certainly testify to one of the great sagas of creativity in human history. Why else would we continue to read Jane Eyre, Wuthering Heights, Villette and The Tenant of Wildfell Hall? Why else would we throng to an exhibition such as Charlotte Brontë: An Independent Will at the Morgan Library?
donderdag 1 december 2016
What Time is To Walk Invisible: the Brontë Sisters on TV?
To Walk Invisible will air on Thursday 29th December at 9 pm on BBC1.
Read more: radiotimesdinsdag 29 november 2016
Book lovers, you can now read Jane Eyre in Charlotte Brontë’s original handwriting
To celebrate the bicentenary of Brontë’s birth, Parisian publishing house Éditions des Saints Pères are releasing 1,000 luxury editions of the earliest surviving manuscript copy of Jane Eyre.
Readers will be able to read iconic lines in Brontë’s own hand, from the book’s ominous opening sentence (“There was no possibility of taking a walk that day”) to its famous conclusion: “Reader, I married him”.
“It was not every day that she could write. Sometimes weeks or months elapsed before she felt she had anything to add to that portion of her story which was already written. Then, some morning she would waken up, and the progress of her tale lay clear and bright before her, in distinct vision.”
And even on these mornings, Brontë’s obligations as a dutiful daughter sometimes got in the way of her writing. Gaskell recalled that Brontë always had to “discharge her household and filial [daughterly] duties” before she was permitted “leisure to sit down and write out the incidents and consequent thoughts, which were, in fact, more present to her mind at such times than her actual life itself”.
The new gilded edition of Jane Eyre is illustrated with etchings by the 19th century American artist Edmund Garrett, and one tree will be planted for each copy sold. With prices starting at £229, it’s not cheap – but if you fancy seeing the original manuscript for yourself without buying a copy, you can do so at the British Library.
Read more:
editionsdessaintsperes
stylist/jane-eyre-charlotte-bronte-manuscript
psychologies/inside-charlotte-brontes-mind
Éditions des Saints Pères are publishing their facsimile edition of Jane Eyre this Friday December 2nd (remember the price is £229 for preorders as opposed to £249 for orders after that date). A couple of sites feature this gem. Psychologies interviews Jessica Nelson, co-founder of the publishing house.
The 824-page manuscript contains important revisions and corrections centred around the portrayals of Jane's encounters with Mr Rochester. Written in Brontë's elegant hand, it gives readers unprecedented insight into her creative process. The manuscript's publication marks the culmination of this year’s bicentenary celebrations of Charlotte Brontë’s birth.
Each luxury edition is illustrated with etchings by Edmund Garrett and presented in a deluxe slipcase decorated with iron gilding. As well as being printed on environmentally-friendly paper, Éditions des Saints Pères have pledged to plant one tree for each copy sold. [...]
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