62 books like The Artist’s Muse

This was a different book than the normal Erotic Romance. I loved the cover, it just says so much about the story itself.

When women started to die at a famous artist's castle, suspicion ran rampant in Alvarez and Elle's minds. Who did it? Who could they trust? The mystery surrounding them mounted and everyone was a suspect. With a woman locked in the attic and an older woman seeking human blood and human organs for her sacrifices, you had a suspenseful time dissecting all the twists and turns in the book.

This book was a phenomenon when it came out, and with good reason.

Chevalier’s words paint a picture of the life of a young girl, Griet, who is working in the house of the artist, Johannes Vermeer in 1660s Delft. In the novel, Griet is the model for the famous painting. The relationship between artist and model, and what they do, and don’t, mean to each other, is complex and intriguing.

The way that Chevalier depicts the restrained interactions between the two seems to mimic Vermeer’s restrained yet visually detailed style.

We all know that Picasso wasn't very nice to his muses – nothing unusual there. He was arrogant and with a massive sense of entitlement. Dora Maar had good reason to weep. She was an artist herself – a successful painter & photographer, gaining commissions historically awarded to men and creating a radical new image of the modern woman – that's until she met Picasso. When she started to cause trouble he had her put away. It's extraordinary how many muses ended up in asylums. Unlike Rodin's muse she did get out, however. In Valdes' novel the story doesn't exactly end happily but in reality she did go on working, as a photographer, up till her death at eighty-nine. Good for you, Dora.

The muse occupies a slightly different role in Deborah Moggach's novel in that she spends a large part of the book supposedly already dead. Muses often exerted a posthumous influence on their artists, usually reflecting a legacy of guilt on the artist's part for his mistreatment or neglect. (Rossetti is a case in point. He had all his poems buried with his muse Lizzie Siddal, only to request permission to exhume them years later.) The painter, in this case, Jan van Loos, remains true, spending his life painting portraits of his muse Sophia and their love. Perhaps to be a muse, even a dead one, wasn't all bad.         

I repost art that catches my eye. I click when I see a piece of Egon Schiele on social media. It’s impossible to look away, which is saying something, considering the variety and audacity of modern art. Born in Tulln, Austria, in 1890, Schiele died of the Spanish Flu in 1918 at only 27.

A student of Gustav Klimt, Schiele’s art is expressionistic, graphic, and transformative. His imagination is a slap in the face, a Munch “Scream” of a crime scene photograph. Steiner has done a great service in producing this art book, in which all of Schiele’s work is reproduced in color. His commentary is, at the same time, chronological and thematic. Schiele survived derisive criticism and prison, and although his life was short, his imaginative punches still landed.

Here is a story of persistence and justice that inspired the movie Woman in Gold. By taking on the Austrian government, the portrait painted by Gustav Klint is eventually returned to its rightful owner. Once more we witness the reluctance of authorities to acknowledge what was perpetrated during Nazi times.

Taking place in Vienna, the events coincide with the experiences of the protagonist in my own book. The mother fled Germany in late 1937 and lived in Vienna until early 1941. She met her husband there, married him while he was in prison, heard that the Jewish children in her orphanage were killed, and witnessed her mother’s death. “It was the worst experience in my life,” she says.

I wish that the perseverance and outcome shown in this story could be mirrored in my own book, but rules introduced by West Germany in the 1950s make this impossible.… show more.

Spanning seven years in six hundred pages, Gainham’s Night Falls On The City is a richly detailed depiction of the stress and madness of life in Vienna after the German annexation.

Onstage or off, the novel’s protagonist, Julia Homburg, must always act, and the strain of this performance, under escalating violence and increasingly difficult circumstances, takes a harsh toll. A compelling and memorable story.

Roaming turtles are branded with swastikas and Nazi soldiers burn synagogues to the ground in Veza Canetti’s The Tortoises, which follows Eva and her husband Andreas, who are trapped in the country without departure visas.

Informed by her experience of the time and place (Canetti wrote the novel shortly after she herself left Vienna in 1938), Canetti paints a vivid and terrible picture of life under Nazi occupation. Published posthumously many years after her death, the novel’s road to publication is a story in and of itself. 

This unlikely story has a different focus from other Holocaust memoirs. After working in a slave labour camp, Edith Hahn, a Viennese Jew, was ordered to report for transport east, and probable death, but instead went into hiding with a new identity thanks to two Christian friends. Jews hiding in plain sight were called U-boats. Though trained as a lawyer, she worked as an ignorant nurse’s aide in a hospital and met a Nazi Party member who fell in love with her. She told him she was Jewish but he wanted to marry her anyway and became both a protector and a constant threat. In an unsentimental style and with surprising dark humour, Hahn has written a gripping account of that period when being found out would have been fatal.

When I first read Zweig’s memoir, I initially thought it was pretentious name-dropping, mentioning one prominent fin de siècle Viennese writer or musician after another. Only years later did I warm to his memories describing a world that existed before the cataclysm of World Wars and the ultimate fate of Europe’s Jewish citizens.

In reading other memoirs from the period (such as Ernst Krenek’s–not available in English), it’s possible to see that Zweig was writing from a position of enormous privilege while also reflecting the very essence of cultural life in a world where culture was perhaps its most important characteristic and distinguishing element.