Molly Peacock - Flower Diary: In Which Mary Hiester Reid Paints, Travels, Marries & Opens a Door
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- Book:Flower Diary: In Which Mary Hiester Reid Paints, Travels, Marries & Opens a Door
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Flower Diary: In Which Mary Hiester Reid Paints, Travels, Marries & Opens a Door: summary, description and annotation
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Graceful yet precise, poetic yet deeply rooted in research, this exploration of an overlooked painter is gorgeous a joy to read. Molly Peacocks insights and empathy with her subject bring to life both Mary Hiester Reid and her luscious flower paintings. Charlotte Gray, author of The Massey Murder
Molly Peacock uncovers the history of neglected painter Mary Hiester Reid, a trailblazing artist who refused to choose between marriage and a career.
Born into a patrician American family in the middle of the nineteenth century, Mary Hiester Reid was determined to be a painter and left behind womens design schools to enter the art world of men. After she married fellow artist George Reid, she returned with him to his home country of Canada. There she set about creating over 300 stunning still life and landscape paintings, inhabiting a rich, if sometimes difficult, marriage, coping with a younger rival, exhibiting internationally, and becoming well-reviewed. She studied in Paris, traveled in Spain, and divided her time between Canada and the United States where she lived among Americas Arts and Crafts movement titans. She left slender written records; rather, her art became her diary and Flower Diary unfolds with an artwork for each episode of her life.
In this sumptuous and precisely researched biography, celebrated poet and biographer Molly Peacock brings Mary Hiester Reid, foremother of painters such as Georgia OKeefe, out of the shadows, revealing a fascinating, complex woman who insisted on her right to live as a married artist, not as a tragic heroine. Peacock uses her poets skill to create a structurally inventive portrait of this extraordinary woman whom modernism almost swept aside, weaving threads of her own marriage with Hiester Reids, following the history of empathy and examining how women manage the demands of creativity and domesticity, coping with relationships, stoves, and steamships, too. How do you make room for art when you must go to the market to buy a chicken for dinner? Hiester Reid had her answers, as Peacock gloriously discovers.
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In Which Mary Hiester Reid Paints, Travels, Marries & Opens a Door
Molly Peacock
Ms. Peacock uses rhyme and meter as a way to cut reality into sizeable chunks, the sense of the poem spilling from line to line, breathlessly.
New York Times Book Review
Whatever the subject, rich music follows the tap of Molly Peacocks baton.
Washington Post
Like flowers built of a millefeuille of paper, Ms. Peacock builds a life out of layers of metaphor.
The Economist
Physically beautiful and emotionally transporting... Peacock makes her own mosaic by weaving pieces of her life into Delanys story, and ties it all together with lovely meditations on art, love, history, and botany. The result is a sumptuous bounty of gorgeous words, striking mosaics, and a spirit of joythe joy of finding ones true calling.
Chicago Tribune
Delanys story abounds with energy as Peacock brings her alive. Like her glorious multilayered collages, Delany is so vivid a character she almost jumps from the page.
Andrea Wulf, New York Times Book Review
Peacock does with words what Delany did with scissors and paper, consummately constructing an indelible portrait of a late-blooming artist, an exalted inquiry into creativity, and a resounding celebration of the power of amazement.
Booklist, starred review
Affecting and engaging, Peacocks own candor combines with Delanys wit and honesty to prove that it is never too late to make a life for oneself and to be sustained by art. VERDICT: This marvelous mosaick makes an indelible impression.
Library Journal, starred review
[The Paper Garden] is organized by flowerforget-me-not, thistle, poppy, etc., each a metaphor for a different phase in Delanys life. In this way, the book itself is a complicated, delicate, and beautiful collage.
Los Angeles Times
A winsomely unorthodox ode to Delany that is part biography, part miniature coffee-table book, and part memoir.... Peacock skillfully and tangibly evokes Delanys era.... The point Peacock makes most convincingly is that Delanys rarefied oeuvre, and her late but metaphorically apt blooming, was the perfect, logical product of the life that preceded it.
Toronto Star
For my husband, Michael Groden (19472021):
In the Attempt Is the Success
Flower Diary enters an era of individuals with limited and destructive ideas about gender, race, and colonialism. While exploring the fascinating life that Mary Hiester Reid lived within such limitations, I have tried to keep a contemporary lens while also telescoping deep into the norms of her day. I hope these shifts address some of the stunning cultural complexities that arise when delving into examples of historical lives.
I had been warned not to undertake this project. She left no diaries! The letters are skimpy! Was that admonition meant to steer me to a well-documented public figure? Someone, for instance, like Marys husband? But how could I heed such a caution when daily I hurried past the place of her first studio in Toronto, and weekly stopped to buy vegetables at the historic market where she, too, must have shopped? Often, I ambled past the building that supplanted her light-filled second studio. As a matter of course, I strolled past a cathedral she had to have promenaded past, if not attended, and a smaller church nearby where she no doubt had shifted her bustle on a wooden pew. Id shiver up Jarvis Street to go to Allan Gardens to visit, in deep winter, the glass Palm House that had opened in her day for all of Toronto to marvel at. I lived inside her geography, an American with Canadian roots who married and moved to Canada, as she did. I paced her ground.
I tie my HatI crease my Shawl
Lifes little duties doprecisely
As the very least
Were infiniteto me
I put new Blossoms in the Glass
And throw the oldaway
I push a petal from my Gown
That anchored thereI weigh
The time twill be till six oclock
I have so much to do
And yetExistencesome way back
Stoppedstruckmy tickingthrough
We cannot put Ourself away...
Emily Dickinson
Art copying from life and life itself,
life and the memory of it so compressed
theyve turned into each other. Which is which?
Elizabeth Bishop
The Open Door
She left a door ajar, slipping through a threshold into the almost impossible-to-balance world of love and art. Over three hundred paintings and a lifelong commitment to a partner: shes one of the artists from the past who made it possible to live and love in the present. Often, we who look for models of creativity learn the names of those who banged down doors and wrecked their own and others lives. But she, who mined a rich and unconventional interior life while clothed in discreet propriety, turned the handle more quietly. And handle is a word that belongs to this woman who made still lifes like diary pages and landscapes like dream logs. She planned and coped, sized up situations, then seized moments, managing a subtle mnage with her painter husband and their talented student in a stiff society, all the while making five transatlantic journeys and creating some of the most devastatingly expressive works youve likely never seen, signing them Mary Hiester Reid.
The Triangles
Painter & Traveler
Mary Hiester Reid in her Paris studio at 65 Boulevard Arago, 18881889, photograph by George Agnew Reid, Art Gallery of Ontario, Toronto.
Alone in the world. Mother? Dead. Father? Dead. Only sister an ocean away and never coming back. When the first notes of a calling burst inside her in 1883, she made a decision about the course of her life that took her far away from the rooms and norms of the time she lived in.
Mary Augusta Catherine Hiester (April 10, 1854October 4, 1921) leapt into real painting, not just ladies watercolors, at twenty-nine, when her dress went nearly from her ears to her ankles and close along her arms to the wrists. The registrar at the Pennsylvania Academy of the Fine Arts wrote her name in a steady, copperplate hand. Then, in the all-female oil painting class, she watched a naked woman climb on a riser and turn her back. Scrunched behind her canvas, Mary crowded for a view among the other young women at this art school led by the genius and so-called libertine Thomas Eakins. Eakins allowed his female students to learn to paint by looking at bodies like their own. Mary saw the lobes of the womans buttocks, the s-curve of her spine, the tilt of her shoulders, the angles of shoulder blades moving under her skin as the model positioned her arms. She stared longer and more intently than shed ever have a chance to in her own bedroom mirror in the household where she lived with her cousins. Breathing in the heavy oil paint and turpentine perfume of the studio, she began to paint flesh like hers.
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