Ruth Butler's Hidden in the Shadow of the Master: The Model-Wives of Cézanne, Monet and Rodin in NYT

Author Gives Voice to Artists’ Silent Muses, Their Wives
By PATRICIA COHEN
New York Times, September 3, 2008

Years ago Ruth Butler was walking through the Musée Rodin in Paris when she glimpsed a small oil painting of a woman with short brown hair, intense eyes and pursed lips. It was labeled a portrait of Rodin’s mother.

“I said, ‘That’s ridiculous,’ ” recalled Ms. Butler, who was on the museum’s board and is now professor emerita at the University of Massachusetts in Boston and the author of a Rodin biography. She recognized the portrait as that of Rose Beuret, Rodin’s model and later his wife.

“I thought that if even the Musée Rodin doesn’t care about Rose, then I should write about this,” Ms. Butler said as she sat sipping a cappuccino in the Petrie Court at the Metropolitan Museum of Art, gazing out at Central Park.

The book is “Hidden in the Shadow of the Master: The Model-Wives of Cézanne, Monet and Rodin,” recently published by Yale University Press. In it Ms. Butler tries to rescue from obscurity the women who she argues were so much a part of the triumphs of these visionaries.

“These artists would find people whose body and face make a statement that they could not otherwise make,” Ms. Butler said, arguing that the models have never been given their due. The women “made a contribution,” she added. “They deserve to be seen, not just visually but biographically.”

As artists in the second half of the 19th century shifted from painting historical, mythological and religious subjects to everyday life, they looked for a new kind of model. For the first time, Ms. Butler said, artists used the same model — often a wife or lover — over and over and over again in different paintings and in different scenes.

The switch was related in part to the end of official patronage, which centuries of artists had depended upon for support. The collapse of this system of sponsorship and the beginnings of an art market set off a series of changes for artists, not the least of which was often poverty.

The three artists that Ms. Butler focuses on — Auguste Rodin, Claude Monet and Paul Cézanne — all spotted their models on the streets of Paris, drawn to something unique in a face or manner. All later married and had sons. But the women were often treated badly.

Ms. Butler “provides good reason to look at these artists’ work again,” a reviewer in the British magazine The Spectator wrote, because “each look brings a lost soul back to life.”

Very little is known about Hortense Fiquet, Cézanne’s model and wife, who sat for 27 oil portraits and numerous drawings. Ms. Butler said she tried to get information from their descendants, but they either snubbed or misled her. The feeling in the family, she said, was that Hortense “was a lowlife, that she spent his money.”

“They didn’t like her,” she added.

For the rest of the article, and an excerpt of the book, please click here.