Consumptive chic for women???

Consumptive Chic: History of Beauty, Fashion & Disease 2017 by Dr Carolyn Day examined the connection between fashion and Tuber­culosis/TB. The book was beautifully written and illustrated, but I was angry on women’s behalf while reading. In an era ignorant about TB, the tuber­cular body came to be defined cul­t­urally. During the late 18th-early C19ths this became romant­ic­is­ed i.e people actively redefined notions of the otherwise horrib­le sympt­oms as ideals of beauty.

Dropsy and Consumption flirting outside a mausoleum.
Credit: Wellcome Collection

Illustrated with fashion plates and medical images, this was a clear story of the rise of Consumptive Chic which described the strange link between women’s fashions and medical thinking re TB. Thus two belief systems developed in a connected fashion:

1. Women's in­herent feminine character/way of life rendered them naturally sus­cep­t­ible to contracting TB.

2.  Despite the changing fashions over decades, TB’s symptoms were believed to increase the attractive­ness of its victim over time. Once they contracted TB, patients were indeed more likely to die. But they would be increasingly beautiful as they approached death. The emaciated figure and fev­erish flush of TB victims were positively promoted as a highly desirable appearance. As were the long swan-like necks, large dil­ated eyes, luxurious eye lashes, white teeth, pale comp­lex­ions, blue veins and rosy cheeks.

Women focused on their eyes by painting eye liner and eye shadow onto their faces, even though these eye paints contained dangerous mer­cury (causing kidney damage), radium, lead or antimony oxide (a carcin­ogen). Women placed poisonous nightshade drops in their eyes, to enlargen their pupils. And they bathed in pois­onous arsenic, to make their skin desirably pale. The poison vermillion was worn on the lips as a lush red tint. How brutal, then, that medical writers knew that the fash­ionable way of life of many women actually harmed them.

What would inspire largely educat­ed classes to respond to illness through the channels of fashion? Why would people try to glamorise the symptoms of a deadly disease?? Day showed that consumption was seen to confer beauty on its victim. Yes it was a disease, but one that would become a positive event in women’s lives.

The Victorian corset was a heavy duty clothing apparatus, capable of constricting a woman's waist down to a tiny 17”;  this and an hourglass figure were all the rage in the C19th. Dresses were desig­n­ed to feature the bony wing-like shoulder blades of the consumpt­ive back, emphasising an emaciated frame. Additionally, diaphanous dresses and sandals exposed women to cold weather.

The coughing, emaciation, endless diarrhoea, fever and coughing of phlegm and blood became both a sign of beauty and also a fashion­ab­le disease. As obscene as it seems now, TB was depicted as an easy and beautiful way to fade into death. It was neither!!

Day noted the dis­ease’s connections to the Romantic poets and to scholars in the early C19th. Literary influence was important for educated women; most Romantic writers, artists and composers with TB created a myth that consumption drove male artistic genius. The link coincided with the ideolog­ies of Romanticism, a philosophical movement that opposed the En­lighten­ment through its emphasis on emotion and imag­ination. These men were the best, most intelligent & brightest members of society. Lord Byron (1788-1824), the most notorious of the Romantic poets, noted that his TB affliction caused ladies to look at him with heartbreak. The poet John Keats (1795-1821) embod­ied an example of the refined tubercular artistic genius, doom­ed to a very early death. He was a body too delicate to endure earthly life, but one whose intellect indelibly imprinted on culture.

And artistic women too. The link between TB and ideal femininity was played up by Alexandre Dumas fils whose novel La Dame aux Camélias (1848) presented redemption for immor­al­ity via the suffering of TB. The consumptive model Elizabeth Siddal, the drowned Ophelia in John Everett Millais’ pre-Raphaelite painting of 1851, became an icon for her generation.

There was less interest in the appearance of TB in the lower classes. Not because working women and prostitutes deserved a miserable and painful death, but because the lower classes showed how women real­ly suff­ered TB’s brutal realities. TB was explained away rather realistically in the working classes: miserable living cond­itions, pollution, poor hygiene, poverty, promis­cuity and drunkedness. TB was not romantic and beautiful for working women.

Tuberculosis shaped Victorian fashion
Furman News, 1888

Could the different reactions to TB, the glamorisation of the ill­ness for upper class women Vs the bleak experience of TB in impov­erished Victorian communities, be there to maintain class order in Britain? Perhaps fashion-setters elevated TB as an elegant form of suffering for the upper classes, specifically to create a psychological dis­tance from the unsavoury realities of lower-class disease? No won­der TB victims from the British upper classes were lauded while poor vic­t­ims were stigmatised.

My blog-partner-doctor wanted to know why other diseases like cholera did not have the same cultural impact? Because, Day said, in­fectious diseases followed an epidemic pattern. First they inc­r­eased very quickly; then they slowly faded in intensity and incidence. The course of TB was less flashy than other contagious illnesses, but it still followed a ve ry slow epidemic cycle of infection.

New Medical Knowledge 

A much better understanding of TB came in 1882 when germ theory was described by Louis Pasteur. In that year Robert Koch announced he'd discovered and isolated the micro­­sc­opic bac­teria that cause the disease. Koch’s discovery helped convince public health experts that TB was contagious. And that the victim’s sparkling or dilated eyes, rosy cheeks and red lips were caused by frequent low-grade fever

Preventing the spread of TB led to some of the first large-scale public health campaigns. Doctors began to define long, trailing skirts as causes of disease because they swept up germs from the street. Corsets were also believed to exacerbate TB by limiting move­ment of the lungs and blood circulation. And doctors began prescribing sunbathing as a treatment for TB. Eventually TB was viewed as a pernicious biological force requiring control. The weak and susceptible female gave way to a model of health and strength. 

NB Emily Mullin How Tuberculosis Shaped Victorian Fashion

  

Ophelia, by John Everett Millais, c1852, Tate 

The tubercular model Elizabeth Siddal became an icon for her generation.

Siena: The Rise of Painting 1300-1350

Siena: The Rise of Painting 1300-50 is at the National Gall London June 2025. This might be less of a popular success than previous shows featuring paintings by eg Vincent Van Gogh, but then the C14th was a while ago. The National Gallery had mixed popular and academic shows before.

Siena: The Rise of Painting, 1300–50,

book cover

The early C14th in central Italy was a golden moment for art and change. Artists Duccio, Simone Martini and the brothers Pietro and Ambrogio Lorenzetti were forging a new way of painting. They painted with a drama not seen before. Faces showed vibrant emotions. Bodies moved in space. Stories flowed across panels.

Name a key Renaissance Italian city-state and many people will say Florence. But C14th Siena was wealthy and had a stable government, with plenty of patrons, both religious and secular. And as a centre for trade and pilgrimage, Siena artists were exposed to new ideas and styles. Ideal for talented artists to grow and to foster fame in Florence.

This London exhibition makes the case for the 1300-1350 era being a critical moment in Siena’s art history. Firstly, Siena was an important banking centre in Western Europe, leading to prosperity and to art patrons. This was true for private devotional objects or for more public displays of faith and wealth. Secondly Siena was a cosmopolitan place to meet new ideas. Eg see how Sienese artists encountered Gothic works from France and adapted them into their own context. Thirdly there is a whole section on textiles which came from the east and found their way into art works. Siena’s status as a trade centre and a pilgrimage route stop from Canterbury to Rome enabled this cultural exchange.

In the decades pre-1350, Siena was the site of fine artistic innovation and activity. Drawing on the quality collections of  NY Met and National Gallery London, as well as loans from other major lenders, the exhibition includes 100+ works by remarkable Sienese artists. It features paintings, metal work, sculptures and textiles. And this shared exhibition with The Met focuses on the artists noted above.

Simone Martini, Christ Discovered in the Temple, 1342

National Museums Liverpool

Why did the glory era end in 1350? The Black Death/bubonic plague was ruining Europe, Asia and Africa’s people. And being a trade centre, on a pilgrimage route, became dangerous; Siena suffered as most cities and towns did. It had been easier for artists to work on commissions in times of peace & stability. Fortunately Siena’s artistic efforts did have a lasting influence, post plague.

A public display of intimate objects was created for private devotion. With 100+ exhibits made by artisans working in Siena, Naples, Avignon and beyond, see some of Europe’s earliest, most significant art works. The London and the Met’s shows are used to bring together the very best.

It is important to focus on the artists singly. By seeing many examples of their work, visitors can examine their style, themes and the commissions the artists received. Focusing on artists who knew each other personally and professionally also gives a sense of Siena’s artistic community. The exhibition’s individual biographies allow viewers to consider how each career met the city’s civic, religious and political institutions. Each depiction of the Virgin Mary, patron saint of Siena, was important.

The art space suits the biographical approach and the curators’ notes are great. The visitors can set the scene with a few Byzantine-style icons helping them understand why these Sienese paintings are innovative and thematic. Duccio was the earlier of the artists, so start with him and then, in the central space, see the other artists...and their legacy.

What was confusing was the change of individual artists and broader themes eg the artistic and historic background first, followed by Duccio. His masterpiece, the Maestà altarpiece for Siena Cathedral, occupies the hub of the hub and spokes. 2 of the spokes focus primarily on major works by Simone Martini and Pietro Lorenzetti. But look at connections between this Lorenzetti and sculptor Tino di Camaino. Then at religious devotional objects and the depiction of textiles, and work by the Lorenzettis.

Alas the exhibition kept switching to broader themes before it finished with the biographical approach. Surely the layout is chronological, explaining why the artists come in order, with contemporary trends inserting themselves in between. 

Ambrogio Lorenzetti, The Annunciation 1344.
Tempera and gold leaf on panel, 122 x 116 cm
Pinacoteca Nazionale, Siena

One of the interesting legacies of this generation of Sienese painters is how their influence extended beyond Siena eg to the Papal Court in Avignon. Martini played a pivotal role there, taking Sienese painting to Avignon in 1330s and dying there in 1344. His works helped transmit the elegance, linear refinement and emotional nuance of Sienese painting.

The emphasis on grace, storytelling and beautifully controlled surfaces marked the International Gothic style. While the rest of the exhibition shows Sienese artists featuring French Gothic & Northern European styles, see Siena’s influence on France’s, Bohemia’s and early Dutch art.

The Sienese commitment to story-telling and decorative richness left a clear mark, separate from the Florentine emphasis on anatomy and emotion. So while Siena’s Golden Age was short, its visual language lived on in courts and church settings where visual rhetoric overcame naturalism.

Duccio’s Maestà panels haven’t been together for ages. A great example is Simone Martini’s Orsini Polyptych where the diptych and triptych joined together in a multiple altarpiece. This devotional work was done for Card. Napoleone Orsini. Close it like a book, open it to an Annunciation scene or totally unfold it to reveal Christ’s tragic end. This show reunites them after being in the Louvre, Belgium and Berlin.

Duccio 's Maesta altarpiece, 1308-11

Siena Cathedral 

After centuries of separation, the exhibition reunited panels that once formed part of Duccio’s monumental Maestà altarpiece. Panels from Martini’s glittering Orsini work finally came together. Gilded glass, ivory Madonnas, illuminated manuscripts, rugs and silks show the creative energy flowing between European artists.

Many thanks to saltertonartreview. And enjoy Joanna Cannon’s book Siena: The Rise of Painting, 1300–50, 2024 

Saskatoon Ca. and its satellite communities

Saskatchewan's fastest growing communities aren't its largest cities, but the satellite communities around them. In fact half the communities that saw large growth rates were towns surrounding Saskatoon, the latest census tells.

Saskatoon

Five of communities that saw the largest percentage of population growth from 2016-21 were Saskatoon’s bedroom communities. The population centre that grew the most was Pilot Butte, where its population grew by 26% from 2016-21! The Mayor said residents are choosing Pilot Butte because they like the small town feel. And yet they are quite close (c20 ks) to large Regina, so enjoying the amenities close gives the best of both worlds.

Pilot Butte residences, work facilities and family parks

Facebook

 

Urban sprawl is a universal problem but the Faculty of City Planning of Saskatchewan Uni has proposed a scholarly & practical scheme. Prof Avi Akkerman said a bedroom community is one where there would be few people in the day, as they commute for jobs or study. Some growing communities have now developed their own business communities and recreational centres, which means they weren’t empty in the day. Called exurban communities, the communities are autonomous, independent of mother city.

The predictable growth of Saskatchewan’s exurban communities, now 288,000, is expected. Land was relatively cheap, agents enticed people to buy cheaper homes, and banks enticed people to take out the cheaper mortgages. And COVID-19 was probably a minor motive for people choosing to move out of large cities. Prof Akkerman acknowledged that the factors that once drew people to the exurban communities could be changing. Inflation is higher now, so costs are rising. While a longer commute may have not been a concern when petrol prices were relatively low, a volatile energy market could change the price of driving to the big city office.

Town councils have created a plan so that the structure can support the growth. Most Mayors welcomed the town's growth, saying they are prepared for even more people. More programmes and services that the residents want are being built but still with a small-town feel

In Jan 2021 Saskatoon was identified as one of Canada's top 10 fastest-growing urban centres. Despite economic challenges and dealing with the COVID, Saskatoon emerged with a strong future. Its growth of 7.6% from 2016-21 was impressive given the global crisis. The city offers a high quality of life, safety, controlled traffic congestion and many outdoor spaces that are for pleasure. And with plans to accommodate up to a million people, Saskatoon is continuously growing and developing.

As Saskatoon expands, surrounding small towns are also growing. These towns are developing unique identities beyond Saskatoon's influence, themselves attractive destinations actively shaping their own futures. Many families seek a small-town lifestyle near a larger city, so they are enhancing community services to build their own economic and cultural services. Eg Brighton Towns on Delainey (pop 14,500), has different townhouses available, communal green space, a community centre, pet walks and family bike spaces. With modern architecture, large windows and high-end finishings, the houses are an excellent move en route to buying a home

Does Saskatoon need a $2-billion perimeter highway? As developers design new subdivisions near the city, some urban planners are rethinking the proposed perimeter highway. The bypass, first proposed 20 years ago, would now cut through the growing city. So before spending enormous money, the planners have to look at the big picture.. which has changed. The province recently released a map showing the path of a proposed Saskatoon Freeway. A working group including staff from many of the rural municipalities is having consultations with landowners who may be affected by the bypass.

Traffic on old Circle Drive East piled up, 

CBC 

Prof Akkerman said Saskatoon would be more successful shelving the perimeter Saskatoon Freeway and limiting Saskatoon’s geographic spread. Note that decades years ago, Circle Drive was supposed to be a bypass perimeter freeway, and it ended up as a clogged arterial road. Another Saskatoon freeway could promote sprawl, burdening taxpayers with decades of upkeep costs. Officials could use other tactics to ease truck-related congestion on existing roads eg having trucks move outside peak hours. So the city and province must rethink the way they manage freeways, re-allocating the $2 billion.

Saskatchewan's Ministry of Highways published this route 

for the Saskatoon Freeway in 2018, 

CBC Canada 

Landowners are jockeying for position, now that the proposed route for a Saskatoon bypass is clear. Once the freeway arrives, the adjoining real-estate quickly goes up in price because of the precious access road. But Akkerman didn't think that the community at large would benefit.

The nearby communities were not merely bedrooms. White City & Warman developed their business and recreational facilities, gaining autonomy from larger cities. This growth is driven by affordable housing and a desire for more space.

affordable family homes, Warman.

Brighton Towns on Delainey

Colliers Rentals

Rising costs from higher mortgages and pricier petrol are making life more expensive for commuters. So bringing jobs closer to home is a wise decision. Employed Saskatoon residents wouldn’t drop their jobs because of attempts to bring more industry elsewhere eg Martensville doesn’t have to compete with its big neighbour, Saskatoon. Rather it will find niches that aren’t completely filled eg small workshops near workers’ residences. It won’t stop commuting into Saskatoon, but lowering the number of people driving every day would help the environment and reduce the drivers’ financial loads.

Demography is becoming more critical in understanding & managing the environment and population increases have growing negative impacts. Thus demography becomes an important complement to environmental science. But in a recent poll, 23% of people thought the city's roads was the top issue in the civic election campaign (CBC News).

Conclusion
If costs continue to grow for taxpayers, there are fewer resources to repair and replace the ageing structure in inner Saskatoon. While Prof Akkerman didn't believe the solution was to build only high-rise towers, it was important to use the space that residents already used. And Saskatoon needs to declare an urban growth boundary around it to mark the city’s outer limits.

Professor Avi Akkerman

Education News Canada

Akkerman is now lecturing in Demography, showing social sciences students the processes of growth, decline and distribution of human populations over geographic space. Perhaps people in other big cities around the world should participate in these lectures.

Thanks to CBC News Sep 2016; April 2019; and Mar 2022.

stolen art WW2: Cassirers, Camille Pissarro

 

Camille Pissarro, 1897

Rue St Honoré, Après-Midi, Effet de Pluie

Wiki

Millions of European Jews were forced to quickly sell their hom­es and businesses with WW2, their assets being confiscated by the Nazis. Works of art often seemed very significant to war heirs; they represented a last cultural conn­ect­­ion to their dead families. I particularly thank Marilyn Henry.

Sadly there had been an intentional campaign of con­fis­cation and destruction of European cultural prop­er­ty. Post-war, Allied Forces uncovered cac­h­es of looted goods and the U.S military returned mill­ions of art objects to the countries of the works’ origin. But those nat­ions were responsible for locating the actual heirs. Did they find them?

Once the Nazis sold the objects, the works entered the art market and were dispersed. Both the pre-war owner and the current owner may have had moral claims to the works, but legal ownership varied. Most Western legal sys­t­ems couldn’t deal with losses from other decades, and from oth­er coun­tries. Claims could be barred because Statutes of Lim­it­at­ion expired. Or claims and the rights of a curr­ent possessor were con­fused when art crossed borders. Add­ition­ally most nations had laws that protected good-faith pur­ch­as­ers. And who could define a forced sale? Only Germany recog­nis­ed some sales under duress.

In the U.S, most museums are private so ownership disputes were and are civil matters. The New York State Banking Dept estab­lish­ed its Hol­ocaust Claims Processing Office in 1997, to resolve claims without litigation. Since then, it accepted 142 art claims covering 25,000 objects. But the small staff of lawyers, linguists and hist­orians only secured the VERY slow return of 12 art works!

Camille Pissarro, 1897, Wiki

Boulevard Montmartre, Morning, Cloudy Weather

NGV Melbourne

Also in the U.S, the Nazi-Era Provenance Internet Portal created a database linked to American museums, identifying thousands of items that had been in Europe from 1933-45. But while the portal could be searched by an artist’s name, country of origin and a painting’s name, it could not be searched by the family own­er.

An artwork’s ownership chain was often patchy. There WAS a res­ponsibility to participate in provenance research, but it was exp­ensive. The paper trail about prov­enance history was often deposited in: multi-national settings, private family memorabilia, govern­mental or museum arch­iv­es.

Some museums did no additional research to clarify the history, until a claimant came forward. Others eg North Carolina Museum of Art, took the initiative. Artworks with uncertain gaps of war-time ownership were reviewed by prof­essional provenance research­ers.

Museums and collectors are more willing to acknowledge legitimate claims than they were a decade ago, and to settle them without lit­ig­ation. But of course museums and collectors still dispute ten­uous claims. Most museums have put their entire collections on Web sites so now the assertion of claims is much easier than it was.

The size of wartime art thefts will never be known. The size of their return, through some heroic post-war efforts, was very great. But those efforts were eventually seen as incon­sistent with foreign policy, or reflecting cold war ten­s­ions by the 1960s. Only West Germany paid partial com­p­en­sation to some claim­ants; read Nazi Confiscated Art Issues.

Camille Pissarro, 1897

Boulevard Montmartre Spring
Courtauld Institute of Art

These days attention to war-era ownership is emerging in the art wor­ld. Major auction houses and museums have provenance re­search­ers, so sellers and buyers routinely check objects with the Art Loss Reg­is­ter - an international database of lost and stolen art formed in 1991 by auction houses and art traders. Un­for­t­unately this did not happen 50 years ago.. when scrutiny could have helped.

As more artwork is identified and located, other nations are quest­ioning the ownership of their holdings. A number of European count­ries eg Austria and Britain have enacted restitut­ion policies or established independent panels to review claims. However these re­view processes didn’t ensure the recovery of loot­ed art, even with clear evidence. Many claimants, especially the children whose parents died in the Holocaust, continued to be frustrated at the expense and time required to pursue a work.   

The same Pissarro painting in Lilly Cassirer’s Berlin flat, c1930.

artnet news

There were 15 Camille Pissarros (1830–1903) that were painted from his Paris hotel room window. One version was called Boulevard Mont­martre, spring morning,  moved through the hands of two of my favourite art dealers: Galerie Durand-Ruel in Paris who acq­uired it from the art­ist in June 1898; and Paul Cassirer in Berl­in who acquired it from Durand-Ruel in Oct 1902.

Now consider Lilly Cassirer and her second husband Otto Neubauer, who swapped a beautiful Camille Pissarro impressionist painting for their free­d­om. A Nazi-appointed appraiser forced her to sell Rue St Honoré, Après-Midi, Effet de Pluie for $360 then. But when the coup­le fled Munich in 1939, they could not take the funds. Lil­ly’s first husb­and Fritz Cassirer, from the prom­inent German Jewish family of publishers and art dealers, had bought the painting from Pissarro’s agent in 1900.

Although the post-war German government voided the sale, Lilly nev­er re­covered the Pissarro. It was sold multiple times. In 1993, the Sp­anish government paid $350 million for the col­lection of industr­ialist-Nazi supp­ort­er Baron Hans Heinrich Thyssen-Bornemisza and placed in their Museum.

In 2001 in the US, grandson Claude Cassirer (1921-2010) found the painting after years of searching and spent five years trying to recover the Pissarro through diplomatic channels. Finally Claude filed a federal lawsuit in California against Spain and against Thyssen-Bornemisza Foundation to recover the paint­ing, now worth $40mill.   

Lilly Cassirer Neubauer and her beloved heir grandson Claude, born Berlin 1921

Claude's mother died flu 1921; Claude's grandmother loved and raised the child

itsartlaw

Claude Cassirer learned the painting was at the Thyssen-Bornemisza in 2000 and petitioned Spain and the museum to return it. See the legal proceedings: the District Court case was in 2006, the first appeal was 2009-10, the second appeal was 2013, the Spanish Law case was 2015 and a last decision was in 2019. Whose law should app­ly, Spain’s or the USA’s? In 2024 the U.S Court of Appeals for the 9th Circuit awarded the painting to the Spanish museum; it was legally bound to decide the case using Spanish law because the thefts occurred there. The Cassirers appealed the 9th Circuit ruling to the Supreme Court which vacated the Circuit Court of Appeals decision. It will now have to reconsider the case in light of the new California law on holocaust survivors' right to reclaim looted art.