A House of Her Own: Kay Sage, Solitary Surrealist

If you're not into art, namely the movement known as surrealism, I'm not sure if you'd like this book; perhaps you would. This biography is about the bizarre life of early 20th century American surrealist oil painter Kay Sage. In describing Sage's life, author Judith Suther delves into feminist issues, aspects of European and American artists during the WWII era, privilege, and a not too shabby psycho-analysis of Sage's work and surrealism overall: in fact you might like this book if you're not into surrealist art, but in that case it would be a very esoteric book I imagine. If, on the other hand, you're into art, and are not put off by surrealism, then you'll probably like this book a lot. I did. It's well represented by: A) Presenting a passable biography of artist Kay Sage. B) Presenting a passable psycho-analysis of Kay Sage's art. C) Exploring contemporary feminist issues in the context of an early 20th century woman artist, who achieved some acclaim in a predominately male dominated art world. D) Presenting fairly legible B & W and color plates of Sage's interesting art. E) Presenting a passable history and definition of the surrealist school of art, and its transalantic American shift during WWII. These aspects, not necessarily in this order, made the book enjoyable. Admittedly, I paint, and I place substantial significance on the philosophy of art, especially on the sub-category surrealism. On the one extreme, if you are oriented toward these criteria, this book is highly recommended; on the other, it might be an interesting read about an obscure early 20th century senator's daughter turned princess turned surrealist artist. The fact that Sage drilled her heart out with a pearl handled .32 at the bitter end lends a Hemingway-esque twist to this pseudo-lonely artist's tale; she apparently was a brassy broad inside (revealed in her poetry, which is also showcased in the book), with the exterior of fine French antique: which Sage was not, she was a good to great American artist, an individualist, and a pioneer (of herself, as well as her genre of art). Some of her finest works look frankly into the abyss. In the final analysis, what kind of artist Sage was is ambiguous. She was a surrealist, yet she wasn't quite. She followed this school of art, yet created her own trademark icons. She really seemed to create a unique niche of her own within a genre. There's an enigma here that isn't easily defined. Were her works powerful, or subtle? That's up to the interpreter to decide.

About 25 years ago I bought a used edition of a fairly comprehensive history of surrealism. While looking for references to Yves Tanguy, my favorite artist, I saw a small, black and white reproduction of one of Sage's paintings and became equally intriqued by her work. There has never been a biography of Tanguy in English, so I was amazed and delighted when Philip Horowitz told me about this book. Judith Suther's research and writing would do any art historian proud. She has reconstructed Sage's fascinating, tragic life with remarkable detail and immediacy. I have only two minor reservations with this book. Suther adopt's some feminist art hstorians' cant that Sage has been denied due recognition because of her gender. But Tanguy himself is only somewhat better known-note the absence of even one English-language biography. My other reservation is the paucity of color illustrations. I know this book is from a university press and the attendant economics, but for the rather high price, there should be more color illos here. Still, I'm grateful for the miraculous existence of this invaluable book.

This isn't the saddest life story I've read, but it is sadness at a most unusual point in the scale of melancholy. Riddled with irony, too. Almost 50 years to the day after Andre Breton commented that Sage's work 'must have been done by a man' Sage was not even listed by name in the surrealist art catalogs and none of her work was to be found in galleries or museums. Only a couple of solo shows and one painting at the 1958 World's Fair. Being the wife of a major surrealist such as Yves Tanguy did not bolster Kay Sage's career in art to say the least. Sage was already well-schooled in art before she met Yves and she came from a wealthy family. The images of her art shown in this book is well worth the money for the picures alone. It will show you 'unofficial personal surrealism' that Women and American Artists from all walks of life have had to face and overcome. Sage's work stands on it's own, yet the enigmatic energy of her ill-fated life and career are revealed in "A House Of Her Own". The book has several illustrations of paintings, drawings, and early photos including interior/exterior photos of the home Sage and Tanguy shared in Woodbury, Connecticut.For the Tanguy fans out there, this is a 'must read' book. Anyone that has sought out literature on the life of Yves Tanguy knows there isn't much to be found. A House Of Her Own reveals many details of a well-researched and authored biographer in Judith D. Suther.