SYMHC Classics: Marie Laurencin

00:00:02
Speaker 1: Happy Saturday.

00:00:03
Speaker 2: After this week's episode on teofil Steinland, we thought we would return to Molmarch and the French artists there with an episode on Marie Lawrence. At the end of this episode, we talk about the Marie Lawrence Museum in Japan, which closed in twenty nineteen. The museum is still curating a large collection of her art though, and the museum collaborated with the Barnes Foundation in Philadelphia for an exhibit called Marie Lawrence Sefolk Paris, which ran from October of twenty twenty three until January of twenty twenty four.

00:00:38
Speaker 1: I went to it. It was lovely.

00:00:41
Speaker 2: That was followed by another version of the exhibit at the Columbus Museum of Art later in twenty twenty four, so maybe there will be other exhibitions of her artwork in the future. This episode originally came out on June twenty six, twenty nineteen. Welcome to Stuff You Missed in History, a production of iHeartRadio.

00:01:08
Speaker 1: Hello and welcome to the podcast. I'm Tracy V.

00:01:11
Speaker 2: Wilson and I'm Holly Frye. We are just back from Paris. Indeed, I I'm sure Holly did this too. Of course I came back from Paris with a list of ideas for future episodes of the podcast.

00:01:23
Speaker 1: Oh yeah, the list is long.

00:01:25
Speaker 2: Yeah, I'm planning to spread mine out, so it's not just like all nineteenth century France all the time, even though that is fun. This is more more twentieth century than nineteenth. So when we had our trip to Paris, I went out just a little early for a little extra time, a little jet lag recovery before the trip officially started. And one of the places I went during that time was the muse de Larangerie, and I and my husband had been drawn there by Mona's water lilies.

00:01:55
Speaker 1: But later on in our.

00:01:57
Speaker 2: Visit, I found myself just totally spellbound by five paintings by Parisian artist Marie lawrenceon he's run another part of the museum. All five of them were of women and animals with very simple and willowy limes and this muted color palette of pink and blue and green and gray, and they just seemed wistful and ethereal, and I just loved them. The audio guide had a little bit about what I was looking at and who painted them, but I really wanted to know more about this woman who had created these works, and that proved to be a little trickier than I expected. She produced a lot of work, and she was really well known and internationally sought after in her time, but that is less true today. It is especially less true outside of France. Her personal papers are in a French library, but they have been censored, like with words physically cut out of them, either by her or by somebody connected to her estate, and then they can also only be accessed with the estate's authorization, and one of the conditions of that authorization is it unpublished material from her work cannot be directly quoted. So her biography has not gotten nearly as much in depth attention as some of her contemporaries and a lot of what's there is in French. And she also hasn't gotten as much attention from art historians because some of the nature of her work, which we will be talking.

00:03:19
Speaker 1: About as well. That didn't make any of this impossible.

00:03:23
Speaker 2: It just meant that when my husband was at the Fancy library helping me out with getting me a book, and he sent me a photo of like, what would you like from this shelf? I said, everything in English?

00:03:36
Speaker 1: Bring it all to me.

00:03:37
Speaker 2: It's a little more challenging than normal, but not impossible. Still laughing at that, so to begin. Marie Melanie Lanson was born in Paris on October thirty first, eighteen eighty three. I already love her as a Halloween baby. Her mother, Pauline, may have had some Creole ancestry, and her father was a government official named Alfred Toulay. Pauline and Alfred were not married. Alfred was not particularly present in Marie's young life. She actually didn't know he was her father until she was in her twenties, and at that point.

00:04:10
Speaker 1: He had died.

00:04:11
Speaker 2: Although he didn't acknowledge Marie as his daughter, Alfred Toulay might have given the family some financial support. Pauline was able to establish herself as a seamstress and an embroiderer and provide herself and her daughter with a pretty middle class lifestyle. They lived in an apartment at the foot of Malmartra, usually with at least one cat, which is another reason to love her. Of course, Pauline was very strict. Gertrude Stein described her and Marie as being like a pair of nuns living in a convent. Pauline also wanted Marie to be educated and cultured, and their apartment was filled with books, something that Marie would carry into her adult life. She had a library of about five thousand volumes by the time that she died. Marie and her mother also took frequent trips to the Louver and other museums. Pauline loved to s and Marie loved to listen to her. She would later say that without her mother's singing, she probably never would have picked up a paintbrush. But otherwise their life at home was very quiet and almost austere. Pauline was really hoping that Marie would grow up to be a teacher, but Marie dashed that hope very thoroughly by coming in last in every subject, at least Lamartine that included art glass. Although Marie was interested in art from a young age, by the turn of the century she was particularly drawn to the Impressionists, the post Impressionists, and the Fovists, including Sezan, Renoir, Manet, Toulouse, Latreq, and Matisse.

00:05:37
Speaker 1: She also wrote poems.

00:05:39
Speaker 2: Some of which were later published under the pseudonym Luise la Laan. Without teaching as a possible way to support herself, Marie turned to painting, specifically painting on porcelain through the Sere's porcelain factory, and this was a challenging path for her. She was extremely nearsighted, and eyeglasses were not fashionable in Paris in the early twentieth century. Lawnsin used a lorgnette, or a pair of lenses on a handle to look at her work. She didn't let her vision keep her from doing anything, though. She enjoyed fencing, which she would do with glasses in one hand and a foil in the other. This delighted Paul Poire, previous podcast subject, so much that he made her a special costume to do it in and let her fence in his apartment. While she was studying porcelain painting, Lawrence I was also attending regular gatherings hosted by Natalie Barney, who had moved to Paris from the United States. Barney was a writer, a poet, and an heiress, and she hosted a salon in Paris's Latin Quarter that was frequented by some of the city's most prominent artists, writers, musicians, and patrons. Barney was also unapologetically publicly lesbian, a time when homosexuality was really heavily stigmatized. She was actually one of the inspirations for the character of Valerie Seymour and Radcliffe Hall's The Well of Loneliness, which was one of the first lesbian novels written in English. Barney had been the named the Amazon after being seen riding a horse by sitting astride it instead of side saddle. When she first started the salon, she called it the Salon of the Amazon and admitted only women. She held other women only events as well, including all women pagan circles, and she later established a women's art academy since Lacademie Frances admitted only men, but eventually Barney made the Salon of the Amazon open to anyone regardless of gender. Lawrencen was a regular at the salon and at other gatherings at Barney's home. Pierre Louis, who was the author of Chanson de Bilitice, attended the.

00:07:34
Speaker 1: Salon as well.

00:07:36
Speaker 2: We talked about Chanson de Bilitice recently in our Safo episode, but just in case you missed that one. This was a supposedly unearthed set of erotic poems that were purportedly by one of Saffo's students. They were really Pierre Louise's own creation, though. One of Lawrencen's first produced works of art was an etching titled Chanson de bilitics, which she printed were repeatedly in nineteen oh four and nineteen oh five, really experimenting with colors and techniques as she did it. This depicts two women kissing with an oil lamp that looks a little bit like a water fowl of some sort in the corner. By the time she was doing this print work, Laurensn had decided to branch out from porcelain painting. She started studying at the Academy Umbeer, which was one of the many art academies in the Manmautla district of Paris. She learned drawing and printmaking and started meeting members of the Parisian avant garde, including Georges Brack, with whom she developed a very close friendship. Along with Pablo Picasso, Brack was one of the founders of Cubism. Brock introduced Laurence to Picasso, and Picasso introduced her to Guillome Epouliniers around nineteen oh seven, telling him that she would make him a good fiance. Apollinaire was eight years older than Lawrence. Born in Rome as Vilhelm Apollinaire de Kestrovitsky, he was raised in various parts of southern France before finally settling down in Paris. He and Laurence had a lot in common. They were both raised by unmarried mothers, both connected to Paris's avant garde community, and both passionately creative on their own. They started an intense and sometimes volatile relationship, both of them seeming to draw creative inspiration from each other and from the relationship itself. Sometimes Lawrencen is described as a Pollinaire's muse. That's something that was possibly inspired and definitely reinforced by Henri Russo's nineteen oh nine portrait of them, which is titled the Muse Inspiring the Poet. This is actually the picture that is used for the artwork on our website for copyright reasons, meaning it's the one we had access to because of copyright, So if you come to our website, that is what you're seeing, not some of.

00:09:49
Speaker 1: Her own work.

00:09:50
Speaker 2: And it is clear that a Pollonaire's work was changed significantly while they were together. His early writings were explicit erotica, but in nineteen oh nine, he published his first volume of poetry. He also became a literary and art critic, helping to define the Cubist movement and supporting the work of writers and painters all across the world of Parisian modern art. A Pollinaire said Lawrence invented poetry for him, and he described her as his feminine counterpart. But this was not at all a one way street with Lawrence and just sort of passively inspiring a Polonaire to greatness merely by existing, which is sort of how people imagine muses work. They were both really drawing from and challenging each other, and she was developing as an artist in her own right while they were together. These were really formative years for Marine Lawrence. Her work through the nineteen teens was stylized somewhat influenced by the Cubists. She was often working in color palettes that were dominated by a lot of brown, and she was also exploring her technique through creating self portraits. She did at least thirty six self portraits during her lifetime, those just being the ones that were titled as self portraits. A third of those were before nineteen fourteen. Lawrencean continued to live with her mother during her study of art and her relationship with Apollinaire.

00:11:09
Speaker 1: And we'll get into how.

00:11:10
Speaker 2: These years unfolded after we first take a pause for a little sponsor break. The Parisian avant garde community of the nineteen hundreds and nineteen teens was really highly interconnected. Many painters also wrote poetry, and many poets also painted or did some other visual or plastic art. Artists and writers were gathering constantly in cafes and coffee shops and galleries and people's homes. Lawrenceant was an active and visible part of this seed, and although her mother had her doubts about Marie's futurism artist, she hosted groups of cubists at their Momolta apartment. Laurencean was also frequently at the Bateau Lavoire, where Picasso and other cubists had their studios, and she was a regular at some of the most influential literary salons in the city. She wasn't universally beloved by this community, though Paulinaire praised her work really effusively, to the point that people sometimes thought that his feelings for her were coloring his judgment about her work, but Gertrude Stein and Pablo Picasso's girlfriend Fernand Olivier were both pretty dismissive and disparaging of her. Both Stein and Olivier wrote derisive accounts of an incident in which Lawrencen was drunk at a party. Olivier also called her affected and a bit silly, and claimed that she was only successful because of her connection to a Polonaire. Stein implied that Lawrencen didn't really fit in with the rest of the community either, writing quote, everybody called Gertrude Stein, Gertrude or at most Mademoiselle Gertrude. Everybody called Picasso, Pablo and Fernand Fernand, and everybody called Guillome Epollinaire, Guillome and Max Jacob Max, but everybody called Marie Lawrence n Lawrence on. It's like the opposite of the Madonna thing. She wants all the names. If you're wondering why Gertrude Stein refers to herself in third person. This is from the autobiography of Alice B. Toklis, which was written that way in nineteen oh seven. With a Pollinaire's encouragement, Lawrencen exhibited at the Salon des endn Pandon. This was an annual exhibition of independent artists that was established in eighteen eighty four after the official salon held by the Academy Royal repeatedly rejected the work of the Impressionists. The Academy Royale later became the e Col de Bouzar, and this was the first of many exhibitions for Lawrence. In nineteen oh eight, Lawrencen sold her first piece of art, which was a painting called Group of Artists. It depicts the artist herself with Pablo Picasso and Fernando Olivier arranged around Guilme Apollinaire. Also in the painting is Picasso's dog Frika. Lawrencen's buyer for this was past podcast subject Gertrude Stein, and eventually Lawrencen would also so paint a portrait of one of Stein's dogs, that dog being Basket the Second. In nineteen oh nine, Lawrencen painted a larger version of a similar scene known as Reunion in the Country or Apollinaire and his Friends. This larger piece featured Gertrude Stein, Fernando Olivier, and an unidentified third woman as the three graces on the left hand side of the frame. Guillomapollinaire is roughly in the center, and to his right are Pablo Picasso, Margeriegio, Maurice Kremnitz, and Marie lawrence On herself. There is a dog in this painting as well, facing away from the center of the frame, but with its head turned back toward a Pollinaire. Lawrencen gave this one to a Pollinaire as a gift, and it hung above his bed until his death. These two paintings are some of the most examined in Lawrencen's work, and they both show the influence of Cubism in her early painting, especially the earlier years of Cubism before it progressed to being just really abstract a lot of the time. They're both very flat, with primitive line and lots of brown, gray and black, and both of them show Lawrence On is part of this group that also included Pablo Picasso. But while she was fascinated by the Cubists and was nicknamed our Lady of Cubism, Laura's son didn't really consider herself to be a Cubist. She counted people like Picasso and Matisse as contemporaries and credited them with teaching her what she knew about art, but she also thought they would be embarrassed by her association with them. On as a side note, a Pollinaire was his own potential source of embarrassment. On September seventh, nineteen eleven, he was arrested for stealing the Mona Lisa from the Louver, which he had not done. However, he and Picasso had gotten someone else to steal a couple of ancient Iberian busts for them, which Picasso used as models for his painting Demoiselle's Damion. A Pollinaire tried to anonymously return these busts, and that led to him being held for six days for the unrelated Mona Lisa theft. He wasn't ultimately prosecuted for the theft of these busts, but this did put quite a bit of strain on his and Lawrencen's relationship. In nineteen twelve, Lawrence was the only woman to be part of La Maison Cubist or the Cubist House, which was an art installation for the nineteen twelve Salon d'outumes. Like the Salon de s endependent. The Salon d'outumes had been established in response to the conservatism of the Academy. The Cubist House was an architectural installation with a facade full of angles and interior rooms adorned with Cubist art. The response in the press was incredibly critical. This combination of a structure meant to look like a family home filled with avant garde art really struck a nerve with the public. In the face of all this criticism, Lawrence n and a couple of other women stood guard outside, armed with umbrellas. Lawrencen continued to make connections and show her work. In the early nineteen teens, she was part of the group of artists known as the Sexion d'Or, and she exhibited her work with them. She had several pieces at the International Exhibition of Modern Art in New York City in nineteen thirteen, which came to be known as the Armory Show. This was just a groundbreaking and incredibly influential exhibition, and it was many Americans' first experience with modern art. Lawrensa and a Pollinaire ended their involvement in nineteen twelve or nineteen thirteen, after about six years together, although he had a reputation as a philanderer. They stayed in touch and apparently a Pollinaire thought they would get back together until nineteen fourteen. That's when Lawrence married German artist Otto van Vettien. Lawrencen said Van Vetien reminded her of her mother, who had died at about the same time that she broke up with a Pollinaire. This was a difficult year or so in her life, and this marriage wasn't particularly happy. World War One started while the two of them were on their honeymoon, and because von Bucken was German, they had to leave France. They went to Spain, which was neutral during the war. Nissa soon made connections among Spain's modern artists, particularly the Dadaists. She also had lots of letters from France and visitors from time to time. One eagerly welcomed visitor was fashion designer Nicoll Grux, who was Paul Poire's sister. Lawrencein and Greux had met in nineteen eleven and they were extremely close for the rest of their lives, including a love affair during at least some of that time. Nichole's daughter Flora was one of Marie Lawrencen's first biographers, and in twenty eighteen, Marie and Nichol's relationship with the subject of a novel, Je entel desire or I have such a desire. While she wasn't totally cut off from her friends in France, Lawrencen desperately missed Paris and felt isolated and depressed. Parts of the avant garde community had also really heavily criticized her for her split with the Polinaire and her marriage to a German. She eventually broke off from the Cubists, but she continued to work, and she started to really establish some of the visual style that she became more known for, with lots of pinks and blues and greens rather than the browns that had dominated a lot of her earlier work, and depictions of women and animals more often than her depictions of men. Many of her wartime paintings also show how unhappy she was during these years, with elements that suggest being trapped or imprisoned. For example, the Prisoner shows a woman in blue looking out from behind flowing pink curtains with a black pattern that resembles a chain link fence, while Lawrencen was away from France, Gillon Appollinaire died he was injured in the war, and then he died of influenza. Van Vakien also started abusing alcohol, and Lawrencen filed for divorce in nineteen nineteen. The split was apparently amicable, though they stayed in touch until his death in nineteen forty two. Lawrencean was finally able to return to France in nineteen twenty one. A year later, she underwent surgery to treat stomach cancer, and she also had a hysterectomy. Back in France, Lawrencen secured the representation of influential art dealer Paul Rosenberg, who all also represented people like Pablo Picasso and Ari Matisse. Rosenberg would continue to be her art dealer until nineteen forty, when he had to flee France in the face of the Nazi occupation. From her return to France until about nineteen thirty seven, Laura San was at the height of her career. Her work was exhibited in London, Paris, and New York, and she was financially successful through commissions and the sale of her work. She continued to work mainly in pinks, blues, grays, and greens, often depicting women and girls in dreamy, slightly unreal settings. At one point, she said, quote why should I paint dead fish, onions and beer glasses? Girls are so much prettier. In the words of an art critic, quoted in her obituary in The New York Times, quote she can paint a girl with eyes like a dough, and a dough with eyes like a girl. Lawrencen also started working as a portrait artist, and she was successful enough to be selective about who she painted, although her dealer repeatedly had to discourage her from just giving her painting as a people that she liked. She reportedly charged men more than she charged women, and because she found blonde women to be the most inspiring, she charged Brunette's more than blonde. She would also only paint children if she liked them. One of her most famous paintings is a French fashion designer, Coco Chanel, done early in Lawrencen's career as a portrait artist. This is one of the paintings in the Muse de l'ingerie. Chanelle is draped in blue and black with a dog on her lap. She has her head resting in her hand and she looks somewhere between wistful and pensive. Another dog is in the background, along with a gray dove. Lauren Son's portraits followed the same style as the rest of her art that she was doing around this time, so they were not really realistic likenesses of her subjects and their clothing. So when she saw this painting, Chanelle refused to pay for it because it didn't look like her. Then Lawrence I refused to do it over and kept the original for herself. In spite of this inauspicious start, Laurencen became famous sought after for these pastel simplified portraits. People would arrive to be painted wearing couture ensalmmes, only for Laurenssan to cover them up with scarves and drapes that she had around for that purpose. She also had romantic relationships with many of her subjects, regardless of their gender, and she did a lot besides paintings and portraits of the nineteen twenties and thirties. I mean she did a lot of those, but other work as well. In nineteen twenty four, she designed the costumes and sets for the ballet Russes Les Beche or the Does by Sergei Yagilev. When this ballet was staged in the United States, dancing in the principal role was past podcast subject Maria Tallchief. Lawrencen also designed costumes and sets for the comedy Francaise, which is one of France's state theaters. Lawrencean was a book illustrator as well. Just as a few examples, in nineteen thirty she drew a set of illustrations for an edition of Alice in Wonderland. She also illustrated The Garden Party and Other Stories by Catherine Mansfield and an American edition of Camille by Alexandre duma Fice. That last one drew some criticism because all twelve of the illustrations she created were of the book's main character, Marguerite Gautier. In nineteen thirty one, she became a founder member of the French Society of Women Modern Artists. She taught at Via Malakoff from nineteen thirty two to nineteen thirty five, and she managed to stay financially afloat even during the Great Depression. In nineteen thirty seven, a retrospective of Lawrencean's work was held at the Great Exhibition of Independent Art Masters at the Petit Palais in Paris. She also finally started wearing glasses that year, and it's around this time that her career started to slow.

00:23:41
Speaker 1: More about that. After another quick sponsor break.

00:23:52
Speaker 2: When World War Two started in Europe, Marie Lawrence stayed in Paris. She published a semi autobiographical collection of poetry and in nineteen forty two that was called Lcarnette de Nuit, and although she continued to work in visual art, her output slowed down. As we said earlier, Most critics consider her work at this point to be a repeat of the techniques and themes that she was developing earlier in her career, rather than experimenting or breaking new ground. She did start to use some darker, brighter colors rather than the pastels that had become her hallmark in the nineteen twenties and thirties, and this change in palette may have been connected to the ongoing deterioration of her vision. Although she was able to stay in Paris, Germans requisitioned her apartment during the occupation and she stayed with friends for the duration of the war. Some of her art was branded degenerate or looted by Nazis. Her politics during this time seemed to have been contradictory. She was part of an intellectual scene that had lots of connections to the Vishi government, and in some ways Lawrence was complicit with them and with German authorities. At the same time, she tried to personally intervene to save her friend Max Jacob, who was a poet and a painter. Jacob was of Jewish ancestry but had converted to Catholicism. He was ultimately deported to a concentration camp, and he died in nineteen forty four. When France was liberated at the end of World War Two, Lawrence was arrested as part of the wave of arrests and purges known as the Operation or Purification. She was briefly incarcerated at Dancing Internment Camp, but was ultimately exonerated and released. After the war, Lawrencen was prone to cycles of depression and isolation. Her closest companion became Suzanne Moreau, who had originally been her maid. It is not entirely clear if the two of them were romantically involved, or if Lawrencen was more like Moreau's surrogate mother, but they were together for almost twenty years. Lawrencen legally adopted Moreau in nineteen fifty four, when she was seventy and Moreau was forty nine. In nineteen fifty Lawrencen produced a series of twenty three etchings for an illustrated collection of safe Poetry, which had been translated by Edith de Beaumont in her earlier book Illustrations. Her work contended to resemble her paintings, with similarly flowing lines and pastel palettes. These Sappho illustrations, though, are still flowing in style, but with a much simpler black and white design. Marie Lawrencen died of a heart attack at her home in Paris on June eighth, nineteen fifty six. She was seventy two. She was buried in Perliches Cemetery, and at her request, she was dressed in white, with a rose in her hand and her love letters from Guilloma Pollinaire close to her heart. I think one of my few regrets about our trip to Paris is that I didn't realize until after we were back all of these things about Marie Lawrencen, including her burial at Perliches because we were there, but hers is not one of the graves.

00:26:49
Speaker 1: That we went to.

00:26:50
Speaker 2: There are so many things to look at in Perliches. You cannot fault yourself for missing anything. Well, you could be there really all day long, I think at that point, because that was one of the things that we sort of did on one of our free days while we were in Paris. And at that point I think she was written in my list of ideas for podcast episodes for after the show as something like that painter from the Orangery, like I didn't even have her name clearly affixed in my mind yet. So anyway, although she had been well known and sought after during her lifetime, her reputation faded pretty quickly after her death. She left instructions to Moreau not to sell her paintings or to allow people to research her. So it wasn't really until the nineteen seventies, which I think was after Moreau's death and when there was renewed interest in women's and LGBT history, that people started researching her life and seeking out more of her work, especially outside of France. The nature of her work also may have acted as a deterrent for biographers and art historians. There was a decorative element to Laurencean's paintings. She didn't push boundaries in the same way that many of her contemporaries did. Many the Cubists, who were so important to Lawrencen's early development and artistic network, were creating work that was increasingly abstract, and Lawrence, on the other hand, ultimately broke away from the Cubists, and she painted in a way that was pretty and appealing. She wanted to make art that people would enjoy looking at. Added to that, Laurensan and her work were explicitly intentionally feminine given the gender standards of the day. Her pastel color palette and willowy fluid lines impressed people as just intrinsically female, and this made it really easy to write her off as just girl stuff rather than as a serious work of art that was full of nuance and symbolism and subtlety and sometimes humor. She clearly had an affinity for women in her work in her life as well, and that was something that earlier art historians seemed really reluctant to explore because of all the stigma surrounding lesbianism and bisexuality. Because so much of the interest into women's art in the nineteen seventies was coming from the feminist movement, Lawrensan's own preferences and opinions complicated things as well. She really favored one type of model, one who was young, white, fair, and slender, and she also believed that women and men were fundamentally different, and that women's art was fundamentally different from men's art. She said, quote, if I feel so far removed from painters, it is because they are men, and in my view, men are difficult problems to solve. But if the genius of men intimidates me, I feel perfectly at ease with everything that is feminine. That made her a less appealing subject of study in the context of a movement for women's empowerment, autonomy, equality and independence. As a counterpoint to that idea, though, Marie Lawrencean was one of very few women artists to hold her own in the male dominated world of French modernists. Although she was connected to the Cubists and her early work showed some Cubist influence, she ultimately broke away from all that and developed her own DISTINCTI unapologetically feminine style, and that was transgressive in its own way. There's been more interest in Marie Lawrencen's life and work in Europe and North America over the past few decades, but she's been especially beloved in Japan. Japanese collector Masahiro Takano developed an interest in her work and acquired a huge amount of it, founding the Marie Lawrence and Museum in Nagano, Japan, which first opened in nineteen eighty three to mark her one hundredth birthday. At the time, it was the only museum in the world dedicated to the work of a woman artist. The museum closed in twenty eleven for financial reasons. In twenty thirteen, pictures from the museum were part of a temporary exhibition at the Musei malmotain Monet in Paris. After that, the Marie Lawrence and Museum reopened in Tokyo in July twenty seventeen. Unfortunately, it closed again on January fourteenth of twenty nineteen. When I was looking at the website for it, because sometimes I am calendar challenged. Somehow, I thought January fourteenth, twenty nineteen had not happened yet, and I was like, I got to go to Japan right now, and then I realized six months already too late. But yeah, it the wording suggests that they're maybe like a future exhibition at some point in in the future, and it's also clear that the people who have all this art of hers really love it and are caring for it, so maybe it will be on public view somewhere at some point in the future. Anyway, I love her. Yeah, she's great. Her art is very pretty. It's not my jam, but I appreciate it and think it's beautiful. Yeah, it's I definitely. I kind of came around a corner where all five of the paintings that were on display all were and I was immediately like, I am here for this.

00:31:52
Speaker 1: Yeah.

00:31:53
Speaker 2: That's the beautiful thing about artist when you have that like visceral, just unexplainable emotional reaction to it. That is why I love art so much. Yeah, and there's also we'll have a link in the show notes to the episode. Because we couldn't personally put some of her artwork onto our website.

00:32:09
Speaker 1: We will have a link to the museum's page.

00:32:12
Speaker 2: On her that has all five I think of the paintings that you can look at there. I think they're really beautiful. Thanks so much for joining us on this Saturday. If you'd like to send us a note, our email addresses History Podcast at iHeartRadio dot com, and you can subscribe to the show on the iHeartRadio app, Apple Podcasts, or wherever you listen

00:32:38
Speaker 1: To your favorite shows.