Muse: Uncovering the Hidden Figures Behind Art History's Masterpieces

by Ruth Millington

'Exhilarating and fascinating' KATY HESSEL | 'R ich and detailed ' CHLOË ASHBY | ' Enlightening ' TABISH KHAN | ' Sheds light on an uncharted area of art history ' JENNY PERY | ' An essential read ' EDWARD BROOKE-HITCHINGMeet the unexpected, overlooked and forgotten models of art history.Who was Picasso's 'Weeping Woman'?Why was Grace Jones covered in graffiti?How did Francis Bacon meet the burglar who became his muse?The perception of the muse is that of a passive, powerless model, at the mercy of an influential and older artist. But is this trope a romanticised myth? Far from posing silently, muses have brought emotional support, intellectual energy, career-changing creativity and practical help to artists.Muse tells the true stories of the incredible muses who have inspired art history's masterpieces. From Leonardo da Vinci's studio to the covers of Vogue , art historian, critic and writer Ruth Millington uncovers the remarkable role of muses in some of art history's most well-known and significant works. Delving into the real-life relationships that models have held with the artists who immortalised them, it will expose the influential and active part they have played and deconstruct reductive stereotypes, reframing the muse as a momentous and empowered agent of art history.

Genres: Art, Nonfiction, Art History, History, Biography, Womens

320 pages, Hardcover

First published January 1, 2022

Reviews

[Mary Rose · Rating 2 out of 5]

For a book that is all about sticking up for muses, this book really does some of them (and some artists) dirty.

Muse: Uncovering the Hidden Figures Behind Art History's Masterpices by Ruth Millington is all about giving voice and agency to muses, who are traditionally assigned a passive role as subjects in art.

Firstly I don't think the book's definition of "muse" is particularly coherent or well-explored. For instance, I can't help but think that 1. a hired artist's model 2. a patron paying for a portrait 3. a muse are three distinctly separate things. I also don't think that "muse" is a great word to describe long-term artistic collaborations like between Marina Abramovic and Ulay, nor is the concept of "self as muse" very coherent to me. So we are on rocky footing from the jump.

But the real trouble comes because the book tries to be progressive but in many ways is regressive. For instance, framing all of Artemesia Gentileschi's artwork as being about "reclaiming her body" in a vaguely feminist but reductive way (even when the chapter prints Gentileschi's own words about wanting the art to stand on its own.)

In the chapter about Fukase Masahisa we get a frustratingly vague sentence about his wife and muse Yoko Waibe, "In 1976, Yoko left Fukase and the couple divorced," ignoring the violent circumstances that she left under. He chased her with a knife! If you're going to write a book defending muses, do you not think that that is relevant?

Or how about this delightful quote about Frida Kahlo? "Kahlo's fifty-five known self-portraits undoubtedly illustrate her narcissistic personality disorder..." Nevermind that the "diagnosis" comes from a doctor who never met Kahlo and only was asked his opinion after her death, that sentence is *staggeringly* inappropriate and Millington should be ashamed. Is it something you'd write about a man's self portraits? About Rembrandt? Get real.

Finally, and most pettily, the book has some historical inaccuracies that I am aware of, which makes me wary of the rest of it because I'm sure there are more that I just didn't notice. For example, discussing how "Since the Renaissance, artists have enlisted the help of studio assistants not only in the preparation of materials, but in the process of creating artworks." It's a lot older than the Renaissance, how else do you think artists got their training?

The book is not all bad. It's refreshingly diverse across race and gender, both for artists and muses, and most of the writing is competent. But for a book that ends with a preachy manifesto for the ethical treatment of muses (a sort of PETM if you will), I don't think it's earned it.

[Tracee · Rating 5 out of 5]

"'Sing, goddess'"

"At their ancient origin, the muses were far from passive subjects for an artist to paint or write about. Instead, they were agents of divine inspiration. The artist- muse relationship was one that was revered..."

"We find that muses have become icons of idealised and sexualised beauty."

"Without doubt, it's time we reconsidered muses, reclaiming them from reductive stereotypes, to illuminate their real, involved and diverse roles throughout art history."

"...we still need the muse."

[Charbel · Rating 3 out of 5]

Let me preface this by saying that I am not in any way an expert on art. I don't really know much about art history, I cannot comment on technique, but I have been moved by the occasional artwork before, some of them even in this volume.

The positives are that I learnt a lot and that it didn't feel like I needed a background in art history to follow it.
I suppose the purpose of the book was to tell you more about the muses themselves, and I feel like it did that successfully. Having said that, I do not understand why you would not include reference images (preferably in colour) in a book about art. What worked for me was googling paintings while reading it, but it definitely hampered my reading flow. And it is a bit strange that the author was willing to comment on colour and what the subjects of the paintings wore and their significance, but did not think that it would be beneficial to include images illustrating what they were referring to.
I also think that the book talks about too many muses. I would have preferred an in depth review about a handful of them instead. What ended up happening was I had to go to Wikipedia to learn more about the paintings that I was interested in as I didn't feel that the book went into enough detail.

But all in all, I now have a better understanding of (some) art history and a deeper appreciation for muses.

[Tabish Khan · Rating 5 out of 5]

An excellent look at the artist's muse and demystifying the idea of them as merely a passive object of passion. Taking on a mix of contemporary and past artists it shines a light on those classified as muses, gives them agency and the major impacts they had on the lives of artists.

I really enjoyed the diversity of muses and including those from outside art including Beyonce and Tilda Swinton, plus referencing some artists I wasn't familiar with.

[Lauren · Rating 4 out of 5]

This book gave me so much more context to many artists and paintings I have loved over the years. Also introduced me to a lot of new ones! The exploration of the artist and muse relationship is so interesting and I loved that this book covered so many different types of artist/muse relationships. Must read for art nerds 🤓

[Nina · Rating 5 out of 5]

This well-researched and well written book sheds light on the truth behind the stereotypical artist-muse relationship. It turns out that there usually is a much more complex story behind. The muse is not just a passive, beautiful (female) being that inspires the artist genius. Rather, in most cases, there is some form of collaboration going on. Neither could exist without the other. The muse often turns out to be an artistic, creative, intelligent or otherwise driven person.
A famous painting like Klimt's Kiss would not be the same without its muse, without Emilie Flöge's revolutionary fashion design.

Some very hardy stereotypes about muses have been proved inaccurate.
The muse is not always a woman, or straight.
The muse is not always in a romantic relationship with the artist.
The muse is not always subordinate to the artist.
Muse and artist can be in a mutual collaboration that blurs both terms.
The muse contributes more than their appearance.
A muse can be a patron.
You can be your own muse.
And many more.

The term muse has been frowned upon recently because of its simplified connotations and stereotypes. But maybe it is simply due to be redefined.

[Kelsey Carin · Rating 3 out of 5]

The book is a collection of essays on different artists and what it means to be a muse. Thought provoking and had me looking deeper into what it means to be an artist

[Lauren · Rating 3 out of 5]

that was goooood but i wish there were pictures of the artwork. it got really annoying searching everything up so i just stopped at a certain point. without seeing the art it was hard for me to truly understand the artists intentions.

[alonso · Rating 5 out of 5]

This book was a great entry level look into art history, and told great stories of a wide population of muses who challenge the popular conception of the meek and downtrodden muse. Taking classical examples through to contemporary artists, Millington writes captivating explorations into the lives and contexts of both muse and artist to paint a more well-rounded picture.

Though the question still remains - are these muses the rule or the exception? - this account empowers the reclamation of ‘muse’ as a position of influence and creative intimacy. It’s intersectional and feminist, and written for the times.

A ‘must read’ if you’ve fallen head over heels for the Frida Kahlo movement and now you want more. Also a great reminder for others already immersed in the art world. I love that the author has made this knowledge accessible to all through great diversity of muses, artists and art movements, and also through simple, well structured text. Yay! Accessible art history!

[Ethan · Rating 4 out of 5]

Overall I think this was a good book that focus on a subject in art and society that does not get enough attention. Typically with works of art, we focus on the artist themselves and the inspirations they were looking for, and not always the inspiration they were given. I think the author does a good job of taking a diverse cast of muses, and explains their stories, and their interactions with their artists, or artist, or self in an interesting way. I would say I learned a lot, and it gave me an introduction to several figures in art history that deserve more attention.

My criticisms of the book would pertain mostly to what I see, as at times, a lack of nuance on certain individuals and subjects. I are also some historical inaccuracies or references that need further exploration. However, I would still recommend this book as an introduction to the idea of a muse in art history, but I would not use it as scripture per say. Mainly, it is a good jumping off point for further research.

[josé almeida · Rating 4 out of 5]

que a musa é irregular já nos tinha advertido o assis pacheco, e que é ingrata sabem-no todos os que tentam escrever. mas o que é a musa? apenas um outro nome para a fonte de inspiração criativa ou tem mesmo existência corpórea? neste caso, quem era a rapariga com brinco de pérola no quadro de vermeer? se pensarmos em nomes como francis bacon e diego velázquez as perguntas são infinitas - mas este livro dá-nos algumas pistas, contando a história de várias delas (dora maar para picasso, emilie flöge para klimt, gala para dalí), não esquecendo que por vezes o artista é a sua própria musa (frida kahlo, artemisia gentileschi, por exemplo) e que esta frequentemente é só movimento e mensagem (elizabeth siddall, andy warhol, luisa casati e tantos outros).

[Juan Sebastian · Rating 5 out of 5]

This is a very easy read that guides you to discover the value and impact of Muses in the lifes, arts and views of some of the most influential artists.

The book invites you to discover the evolution and partnership between the artist and their Muse, while unconventionally redefining the concept of the Muse in the shape of another artist, family, messages, or even the own artist's self; through great insights, fun facts and historical research that captures interest of the reader in a way that had me researching for more.

It was a great companion during my summer beach holiday.

[Lucinda · Rating 1 out of 5]

So boring and so badly written. I'm starting to get quite fed up by so called pop media books on women in art.
Possibly one of the worst books I've ever read on the topic of modeling in art history.
There's a bibliography, but no references cited in the text.
All in all a series of extremely cliched and dubious assumptions.
Millington needs to acknowledge that in 2023 we don't need the word muse anymore, because it certainly is gendered and actually making the lives of women working as models quite negative.

[Ava Preston · Rating 5 out of 5]

As an history of art girl, this was a brilliant book! I understand why some would prefer a more in depth review of some of the muses however I think that’s what the author intended that we do as active readers. To delve and continue research ourselves on the artists, paintings and muses outlined in this work. I think it was great to have the bite size chunks of different artists and the way in which she explored them is brilliant! The drawings were lovely too! I haven’t seen a book like this for a while but I loved it!

[Saki · Rating 5 out of 5]

A figura da Musa não é só feminina
Sendo um livro em inglês, o problema do género não se põe, e os autores mostram mulheres e homens. Porém, como sou tradutora, passei a leitura a pensar nisso - não temos vocábulo para o género masculino, tal como não temos anjos femininos, e só se começou a falar de «elfas» depois dos filmes sobre o universo de Tolkien. Seja como for, é uma leitura fascinante!

[Kelly Furniss · Rating 4 out of 5]

A really interesting book exploring the role of muses within art and their stories.
Everyone with a interest in art would learn something from this either about muses, art or artists.
A enjoyable book with lots to ponder over.
My thanks to go the author, publisher and Netgalley for this arc in return for a honest review.

[Sandra Hould · Rating 5 out of 5]

Highly inspiring and informative.

It was impossible to put this book down once I started reading it. I love art history, and learning about those who have shaped it through the muse point of view was refreshing, to say the least. I highly recommend this book to all who love art and those who have shaped it into what it is today.

[Valentina · Rating 3 out of 5]

3.5, good but at times repetitive. Lost stars because for a book centered around art the lack of the actual art discussed is imo a serious flaw. If there is paragraphs of analysis on specific pieces, I do believe pictures should be included so that as readers we can comprehend the analysis more practically, especially as some pieces may be unknown to readers.

[Katie · Rating 5 out of 5]

A gorgeously written book examining the role of muses throughout history and culture, digging into the backgrounds of sitters for photography and art so that there's just as much focus on the inspiration as the creator. It also examined the concept of muses so well and its given me so much to think about.

[Peter · Rating 4 out of 5]

Great idea for an interesting and informative new book in the over-crowded art market. Its a dip in and out book, if you like those. And I DO. Superb illustrations. Always interesting to know what inspires artists - you also learn about the muses themselves.

[chloe · Rating 4 out of 5]

such a well written and interesting book i really recommend to art lovers as well as anyone interested in learning more about muses and their impact and influence in art

[GraceHaff · Rating 4 out of 5]

Covers a broad range of different artists and their muses which I’ve found super great, means It gives a little taster to go off and do my own further reading.

[Sara Yasaei · Rating 3 out of 5]

Interesting idea and examples, but the stories do not go very deep.

[J223 · Rating 5 out of 5]

Muse Energy

[Karl · Rating 5 out of 5]

--- "Far from silently posing, muses often bring emotional support and intellectual energy to the relationship; they share ideas, inventions and techniques; they provide practical help and funding." (Millington: 7)
--- "Diverging from artists, past and present, who have depicted Muslim women without consent" (Millington: 88)
- "Assuming physically demanding positions, she kneels, crouches and, quite literally, bends backwards for the artist." (Millington: 195)

This book is about muses. The book expands the idea of what or who a muse is and acknowledges how important they have been. Therefore, the book moves beyond the canonical idea that muses tend to be female prostitutes, submissive, irrelevant or ended up having an affair with the artist.

The book consists of several examples of muses throughout the history of art and each example adds something new to the definition of 'muse'. That is good. The book has allowed me to discover new artists and artworks I did not know about, and that is good too. All in all the book is very original and necessary at the same time.

[Bryleigh Pierce · Rating 1 out of 5]

Very messing citations and surface level analysis of artworks. The author also tried to claim that Dada was founded in Paris, even the most basic of google searches, much less actual historical research, will tell you that it was undeniably founded in a bar in Zurich.

[Gilion Dumas · Rating 4 out of 5]

Ruth Millington is an art historian and author, specializing in modern and contemporary art. In Muse, she explores the stories of the people depicted in 30 famous portraits and the relationships they had with the artists who painted them. Millington challenges the idea that muses are young women who pose for old male artists. The muses in her book are women and men, young and old, and all play a more active role in inspiring and influencing the art they are a part of.

Millington writes in a breezy, journalistic style that makes her book approachable to readers who might be interested in but unfamiliar with the artists she examines. The only drawback to the book is that she describes a lot of works of art and there are no pictures or illustrations of them. This is understandable because the book would be enormous if it included pictures of all the art described. But be prepared to spend some time on google looking up the artwork as curiosity dictates, which it will.

[Michelle Bizzell · Rating 3 out of 5]

I appreciate what this author set out to do. Millington shows through many examples the complex and active role of the artist muse throughout history. Often, but not always, they were artists in their own right. But what kept me glued to this book was the drama. No one does drama like artists and every example had some juicy story. It made for an educational and entertaining read.

[Allison · Rating 4 out of 5]

A bit long, but super interesting.