A Glimpse of a Widow

How does one cope with the loss of their loved ones? Should we only look at those who have passed in the most forgiving light? How do we expect to give ourselves a quantum of solace after such a jolting event? All these questions come to pass for Suzanne Manet in Susan Vreeland’s historical fiction piece, Olympia’s Look. The story follows in the aftermath of the death of Suzanne’s husband, the famous artist Edouard Manet. In this most vulnerable of times, Suzanne is left wondering of the fidelity of her late husband, knowing that he had relations beyond professionalism with his models. Also, her business mind has taken hold of her, as she prepares to auction off her husband’s work, with her nephew Albert copying some pieces for posterity.

 It is in these early passages that the character of Suzanne takes, shape. She is a complex woman, and the story portrays her in an ever-changing light. Most simply observed is the apprehension she seems to feel about investigating her husband’s debauchery. But it remained to be seen that she also had a stronger streak within her. During an early flashback passage, Suzanne intercepts a letter quite forcefully from her servant Helene. During this time, and a few others, Suzanne compares her gestures, her very emotion to that of the model in the portrait Olympia. Such a fact is far more poignant when she finally meets Victorine, the actual model for the portrait, and continues to analyze life through comparisons to portraits. It is perhaps understandable that someone who was so entrenched in the art world would make such connections, but it also seems outside her more calculated character that has the good mind to ask for copies of her husband’s art.

 What is so touching in the piece is how Suzanne wholeheartedly loved Edouard, even knowing that he had not been the most faithful of companions. This was best showcased in another flashback, where Suzanne aids to the ailing Monsieur Monet after he has a nightmare. She calms him, caresses him so lovingly and so tenderly that it is obvious she would never leave him. It is this aspect of her that makes her character so multidimensional. She is a strong woman by all accounts, but she is weak to Edouard. This, in the end, made it so haunting for her when she realizes that she still cannot hate him after all he has done.

 Besides Suzanne, the story takes a brief look into some other players in Eduoard’s life. One of his models, Isabelle, is shown briefly in sorrow for his death. She serves as a foil to Suzanne, who feels empowered after not letting Iasabelle keep a letter from Edouard. More importantly, the story showed what became of the model Victorine. A self-proclaimed collaborator with Edouard, Victorine has lost her model’s appearance, struggling in the world as a flailing artist in her own right. It is Suzanne’s rejection to Victorine that paints the most vivid picture of the main character, and thus, Victorine’s inclusion was sorely needed.

 In the end, Vreeland’s glimpse into the world of a widow comes across as tragic in many ways. The writing seems more stylistically acceptable than in the Yellow Jacket. The dialogue flows more freely. Perhaps it is because Vreeland can better relate to this protagonist in some way, or maybe the influence of actual historical events was better relatable to a fictional adaptation. In the end, it is a story not to be taken lightly, much like the curious subject matter.