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Clara and Mr. Tiffany: A Novel, by Susan Vreeland
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NATIONAL BESTSELLER
It’s 1893, and at the Chicago World’s Fair, Louis Comfort Tiffany makes his debut with a luminous exhibition of innovative stained-glass windows that he hopes will earn him a place on the international artistic stage. But behind the scenes in his New York studio is the freethinking Clara Driscoll, head of his women’s division, who conceives of and designs nearly all of the iconic leaded-glass lamps for which Tiffany will long be remembered. Never publicly acknowledged, Clara struggles with her desire for artistic recognition and the seemingly insurmountable challenges that she faces as a professional woman. She also yearns for love and companionship, and is devoted in different ways to five men, including Tiffany, who enforces a strict policy: He does not employ married women. Ultimately, Clara must decide what makes her happiest—the professional world of her hands or the personal world of her heart.
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- Sales Rank: #56122 in Books
- Brand: Random House Trade Paperbacks
- Published on: 2012-03-20
- Released on: 2012-03-20
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.00" w x 5.20" l, .73 pounds
- Binding: Paperback
- 448 pages
Features
Amazon.com Review
A Letter from Author Susan Vreeland
� Sam Ryu Discovering Clara
For a century, everyone assumed that the iconic Tiffany lamps were conceived and designed by that American master of stained glass, Louis Comfort Tiffany. Not so! It was a woman! Aha!
If it weren't for the Victorian zest for writing voluminous letters, Clara Driscoll would be only a footnote in the history of decorative arts. However, by an astonishing coincidence in 2005, three individuals unknown to each other--a distant relative of Clara, a Tiffany scholar, and an archivist at the Queens Historical Society--each aware of only one collection of Clara's letters, brought the correspondence to the attention of two art historians specializing in Tiffany, Martin Eidelberg and Nina Gray.
The result was electric. The two art historians contacted Margaret K. Hofer, Curator of Decorative Arts at the New York Historical Society which owns a huge collection of Tiffany lamps. Together they mounted an exhibition in 2007, A New Light on Tiffany: Clara Driscoll and the Tiffany Girls, in which Clara was hailed as "a gifted unsung artist" whose letters provided an eyewitness account of the workings of Tiffany Studios and revealed the vital role played by women. Their startling discovery rocked the art world.
While I was on tour in New York for my 2007 novel, Luncheon of the Boating Party, my agent and I went to the Metropolitan Museum of Art to see a lavish Tiffany exhibit recreating a portion of his fabled Long Island estate, Laurelton Hall. Instantly, I fell in love with Tiffany glass. By another coincidence, her husband spotted a review of the New York Historical Society exhibition, which we saw the next day. I was intrigued, but not convinced until I read the illuminating exhibition book as well as Clara's correspondence at the library of Kent State University, Ohio, and at the Queens Historical Society.
Poring over her letters, I discovered the wry, lively, sometimes rhapsodic voice of a freethinking woman who bicycled all around Manhattan and beyond, wore a riding skirt daringly shorter than street length, adored opera, followed the politics of the city even though she couldn't vote, and threw herself into the crush of Manhattan life--the Gilded Age uptown as well as the immigrant poverty of the Lower East Side. There before me in her own handwriting was an account of her making the first leaded-glass lampshade with mosaic base. I recognized her to be a dynamic yet tender leader who developed the Women's Department which created the nature-based lamps she designed. I rubbed my hands together in glee.
When I remembered that my mother, who lovingly called colors by their flower and fruit names, and who worked briefly as a lamp designer in Chicago in the 1930s, was required to resign from another position when she became engaged, just like the Tiffany Girls were required to do, I felt a personal connection to Clara. I sought out as many of her lamps as I could find, researched Tiffany and New York's cultural history in more than fifty books and articles, and then I eagerly settled down to write the story I felt was mine to tell.
From Publishers Weekly
Vreeland (Luncheon of the Boating Party) again excavates the life behind a famous artistic creation--in this case the Tiffany leaded-glass lamp, the brainchild not of Louis Comfort Tiffany but his glass studio manager, Clara Driscoll. Tiffany staffs his studio with female artisans--a decision that protects him from strikes by the all-male union--but refuses to employ women who are married. Lucky for him, Clara's romantic misfortunes--her husband's death, the disappearance of another suitor--insure that she can continue to craft the jewel-toned glass windows and lamps that catch both her eye and her imagination. Behind the scenes she makes her mark as an artist and champion of her workers, while living in an eclectic Irving Place boarding house populated by actors and artists. Vreeland ably captures Gilded Age New York and its atmosphere--robber barons, sweatshops, colorful characters, ateliers--but her preoccupation with the larger historical story comes at the expense of Clara, whose arc, while considered and nicely told, reflects the times too closely in its standard-issue woman-behind-the-man scenario. (Jan.) (c)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
Although not all the reviewers have yet weighed in, the critical consensus thus far remains mixed about Vreeland’s foray into early 20th-century New York. One critic wondered whether, since the Tiffany lamp “has lost some of its original fascination and wonder” (Barnes and Noble Review), the hidden story behind its creator would interest readers. And, although the Washington Post was captivated by the details about glass-blowing, others felt that excessive detail obscured not only Clara’s personality but what could have been a more dramatic tale about art versus love. Still, as in her previous novels, Vreeland offers a valuable window into an era and a woman ahead of her time.
Most helpful customer reviews
188 of 191 people found the following review helpful.
A Gilded Age slice of artistic life
By Corinne H. Smith
Clara Driscoll (1861-1944) was an actual designer who worked for Louis Comfort Tiffany (1848-1933) at the turn of the last century. This novel steps into her shoes as she creates designs with colored glass pieces and manages the all-woman studio that assembles signature Tiffany windows and lampshades. While the storyline traces this independent woman's days over the course of sixteen years, it also by necessity touches on some of the tensions of the times: the limitations in the rights of women; the difficulties of newly-arrived immigrants to the boroughs of New York; and the demands of trade unions and the administrative challenges they can cause. It juxtaposes Art against Commerce, raising the question of which one of the two is more important. This is a dichotomy the Tiffany company itself must face and must resolve in order to survive.
But at its core, this book is about an artistic woman who seeks value in her life and in her work. Clara tells her tale in the first person; and through her eyes, we are thus able to witness her personal and professional setbacks and successes. We meet the assortment of her fellow bohemians who reside in one particular Irishwoman's boarding house. As we take Clara's side and hope that she finds all of the external validation and the happiness that she deserves, we come to realize that her boss, Mr. Tiffany, is in search of those same satisfactions, too. The lingering question is: Will they both succeed?
Good historical fiction introduces us to worlds we do not know firsthand. It teaches us history while it confirms for us the universality of the human experience. Author Susan Vreeland conveys these concepts well. Even her chapter headings reflect the storyline. Each title suggests either a hue of color or a still-life subject of focus. Everything here is about Art.
During my time with this book, I felt the need for more visual references of the stained glass artistry. The Tiffany window outline on the front book cover wasn't enough for me. So I checked out a few Tiffany coffee table books from a local library. When I paged through the exquisite and colorful plates, I could consider the people who created each one, and the many hours of work that both men and women devoted to those projects -- just as Clara and her Tiffany girls really did. Vreeland's book brings home the fact that inanimate objects include a human element whenever they are made by hand. I know I will look at Tiffany windows and lampshades differently from this moment on.
Susan Vreeland has once again revealed the people and the stories behind Art. "Clara and Mr. Tiffany" makes for compelling and enjoyable reading. It's a good story that happens to be based on fact. An Afterword defines which of the book's details were real and which ones were filled in by the author's imagination. The book reminds me somewhat of Nancy Horan's Loving Frank: A Novel, a book based on the relationship of Frank Lloyd Wright and Mamah Borthwick Cheney. And although this was my first foray into the novels of Susan Vreeland, I now want to go back and read a few of the others. I love books that help me understand "the rest of the story." Vreeland's volumes appear to do just that.
[Review is based on seeing the Advance Reader's Edition.]
148 of 157 people found the following review helpful.
Changed my mind about the book the more I read
By Avid Reader
I had never read a book by Vreeland but was excited to read about Louis Comfort Tiffany (whose supposed works! I have always admired) so I jumped on this book. I was at first put off by the writing style and marked passages I thought clumsy and awkward, mostly passages that were there to teach the reader something about working with glass, but having these lecturing phrases in the mouths of the characters was rather offputting. Luckily I was quickly drawn into the drama of the women who worked under Clara's supervision and Clara's own artistic triumphs in creating some of Tiffany's most famous lamps. I ended up buying a pictoral book on these lamps and windows from Amazon and mean to buy the book for a friend ALONG with the picture book which I know will add much to the story since the creation of many of the lamps is discussed in detail.
I was much struck while reading this that many have wondered why there have not been more famous women artists, writers, composers, etc. Well, this woman was not known as the creator of these "Tiffany" lamps until letters she had written home were discovered very recently. That is the compelling part of this novel for me. I don't think I would have enjoyed this as much as I would if it had not been based on a real person's story and that person was a victim of her time - Tiffany's "girls" were not allowed to marry, if they did they lost their positions. They were certainly not allowed to form a union. The men's union at Tiffany worked hard to get them shut down and concessions had to be made to allow them to have a woman's workshop - this was early 1900s.
The joy of working with the colored glass, the characters, including gays, she boarded with, the glimpses into the immigrant slums, the incidentals of living at the time are all very interesting and strong points in the narrative. The weaker part for me was Clara's own personal story and interactions.
Another point driven home was art vs profit - Louis Comfort Tiffany was always in the red and had to be bailed out by his father Charles Tiffany of Tiffanys the jewelry store. The accountants were always looking for ways to make an easy profit basically telling Clara to stop designing the more expensive lamps - what a loss! There are so many Tiffany lamp imitations these days that the real exquisite beauty of the original lamps has been diminished. Do yourself a favor and read this book and go to the library and look at colored photos of the lamps Clara Driscoll created.
49 of 51 people found the following review helpful.
Clara and Mr. Tiffany
By RoloPoloBookBlog
Historical fiction author Susan Vreeland has done it again! In her latest novel, Clara and Mr. Tiffany: A Novel, Vreeland creates a wonderfully compelling story of an artist and the world she lived and worked in. This fascinating story traces sixteen years of Clara Driscoll's life between 1892 and 1908, the years she served as head of the Women's Department at the Tiffany Glass and Decorating Company. Vreeland asserts in her novel that it was in fact Clara Driscoll and not Louis Comfort Tiffany who hit upon the idea for the now famous Tiffany lamps!
Vreeland does not make this radical claim without proof and true to form she has woven this particular story around extant historical documentation. In this instance, Vreeland was able to use Clara Driscoll's own words as expressed in her letters which were discovered in 2005. Vreeland's novel is filled with details and descriptions of life in New York City. In fact, these descriptions are one of the novel's greatest strengths; Vreeland's ability to create such incredible images with her words gives the reader the opportunity to completely understand what life was like for an unmarried woman living and working in turn of the century New York.
Clara Driscoll's time at the Tiffany Glass and Decorating Company was not just about her creation and designing the leaded glass lamps but also about the creation and flourishing of the Women's Department with Clara as its head. In a time when women barely had any rights at all, Clara Driscoll saw that her girls earned a fair wage and were treated with respect. Admittedly, these issues were not always easy ones and Vreeland expertly deals with the social aspects of women in the workplace.
Vreeland also deals with the personal struggles and sacrifices Clara and her girls made during their time with the Tiffany Company. For instance, per company policy, all of the women working for Louis Comfort Tiffany had to remain unmarried. This policy becomes problematic for many of the women but especially for Clara who constantly struggles with her need to be recognized as a true artist and her desire to be married. This policy turns into a very clever way for Vreeland to develop the story lines of some of the minor characters, many of which are incredibly delightful and well developed.
Another of Vreeland's greatest strengths lies in Vreeland's ability to describe the leaded glass making processes without becoming bogged down in technical jargon. All of the descriptions are expertly woven into the plot line so that they become a part of the novels' fabric and not independent or boring descriptions of glass making. As you proceed through the novel you find yourself holding your breath waiting to find out if a new process or procedure for creating a lamp works or if it will prove to be a total failure. As with all of Vreeland's historical fiction, the reader becomes completely invested in the characters and their lives. You celebrate the victories just as Clara and her girls did and cry when any one of them experiences either a personal or professional loss
This book is beyond being worth your time and energy as a reader; it is a must read if you love historical fiction! Vreeland is a master storyteller and even if you know nothing about Tiffany and Company, the leaded glass industry, or women's rights in turn of the century New York, you will love this novel.
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