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Clara and Mr. Tiffany
Against the unforgettable backdrop of New York near the turn of the twentieth century, from the Gilded Age world of formal balls and opera to the immigrant poverty of the Lower East Side, bestselling author Susan Vreeland again breathes life into a work of art in this extraordinary novel, which brings a woman once lost in the shadows into vivid color.
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, which he hopes will honor his family business and 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. Publicly unrecognized by Tiffany, Clara conceives of and designs nearly all of the iconic leaded-glass lamps for which he is long remembered.
Clara struggles with her desire for artistic recognition and the seemingly insurmountable challenges that she faces as a professional woman, which ultimately force her to protest against the company she has worked so hard to cultivate. She also yearns for love and companionship, and is devoted in different ways to five men, including Tiffany, who enforces to a strict he does not hire married women, and any who do marry while under his employ must resign immediately. Eventually, like many women, Clara must decide what makes her happiest—the professional world of her hands or the personal world of her heart.
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, which he hopes will honor his family business and 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. Publicly unrecognized by Tiffany, Clara conceives of and designs nearly all of the iconic leaded-glass lamps for which he is long remembered.
Clara struggles with her desire for artistic recognition and the seemingly insurmountable challenges that she faces as a professional woman, which ultimately force her to protest against the company she has worked so hard to cultivate. She also yearns for love and companionship, and is devoted in different ways to five men, including Tiffany, who enforces to a strict he does not hire married women, and any who do marry while under his employ must resign immediately. Eventually, like many women, Clara must decide what makes her happiest—the professional world of her hands or the personal world of her heart.
401 pages, Hardcover
First published January 1, 2010
About the author
Susan Vreeland
16 books1,086 followersSusan Vreeland was an internationally renowned best-selling author and four-time winner of the Theodor Geisel Award for Fiction, the San Diego Book Award’s highest honor. She wrote historical fiction on art-related themes, and her books have been translated into 26 languages.
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Displaying 1 - 30 of 2,310 reviews
February 6, 2011
The entire time I was reading Susan Vreeland's "Clara and Mr. Tiffany" I couldn't get out of my head that Clara Driscoll's ties to her boss, Louis Comfort Tiffany, reminded me a lot of another relationship that has so captured my attention——and that's Don Draper and Peggy Olsen.
Leave it to a Mad Men fan girl to make a connection like that, but this novel paints a picture of the relationship between its two protagonists that's a precursor of sorts to its 1960s fictional counterpart. There was an excerpt in particular, in which Clara's desperately seeking Tiffany's approval for her prowess on the job, where it seemed an especially apt comparsion:
"When you look at me, don't you see more than a design machine? Don't you see a woman with more than one passion? Don't you see my adoration for you? .... I ached to ask him these things, but I didn't dare. I didn't want him to think I wanted romance. What I wanted would have to be a finer union than any romance I'd ever known."
That's Clara there, but, for those of you who are fellow fans of Ms. Olsen, it could have just as much been Peggy, no?
Pop culture comparison aside, "Clara and Mr. Tiffany" tells a fictionalized account of the life of Clara Driscoll, designer for Louis Comfort Tiffany (he of the glass line; his father of the Tiffany jewelry emporium) who, in the early 1900s, is arguably believed to be the woman behind Tiffany's most memorable creation—-the Tiffany lamp.
Because Tiffany does not allow the women who work for him to marry, Clara faces the inner struggle of whether to choose the love of her craft and the pursuit of her career over the desire to spend her life with someone ("someone" taking on the role of several men in her life who appear in the novel).
Vreeland keeps the action of the book tightly focused on the turn of the century—the 15 years or so when the Art Nouveau style was at its peak (and provides a fascinating look into the lives of the Tiffany family——I had to do a bit of Wikipedia research after reading about them because I wanted to learn more). Along the way, Vreeland cannot help but incorporate the other major happenings in New York City into the lives of her characters——be it the opening of NYC's first subway line, the first dropping of the Times Square ball at New Year's, or the erection of the Flatiron Building, all of which make for exciting passages in the book.
Overall, I loved the idea of this novel even if,at a few points during its reading, the writing fell a bit flat. (These thoughts often accompanied Vreeland's descriptions——through Clara's eyes——of the process of glass-making and the painstaking assembly of the company's mosaics and lamps; it's complex stuff to have to describe, so I can't entirely fault Vreeland for feeling as such about the material).
Overall a pleasant read and a powerful one for women, especially those of the independent variety. And another wonderful example of how this author finds the most fascinating stories to tell in the world of the arts.
******************************
True story --- when I was in college, for one of my classes, I had to read Vreeland's "Girl in Hyacinth Blue". I loved it. So much so, I decided to write and tell her as much (something I'd never done before with an author whose work I enjoyed.)
I've kept her response all these years, in part which read: "Read much, my dear, and keep notes of your reading. The best writing comes out of love, the source of all good work, coupled with curiosity, receptiveness and a willingness to walk down the path of "what if...?" Blessings, Susan
Can you see why I love her?!
Leave it to a Mad Men fan girl to make a connection like that, but this novel paints a picture of the relationship between its two protagonists that's a precursor of sorts to its 1960s fictional counterpart. There was an excerpt in particular, in which Clara's desperately seeking Tiffany's approval for her prowess on the job, where it seemed an especially apt comparsion:
"When you look at me, don't you see more than a design machine? Don't you see a woman with more than one passion? Don't you see my adoration for you? .... I ached to ask him these things, but I didn't dare. I didn't want him to think I wanted romance. What I wanted would have to be a finer union than any romance I'd ever known."
That's Clara there, but, for those of you who are fellow fans of Ms. Olsen, it could have just as much been Peggy, no?
Pop culture comparison aside, "Clara and Mr. Tiffany" tells a fictionalized account of the life of Clara Driscoll, designer for Louis Comfort Tiffany (he of the glass line; his father of the Tiffany jewelry emporium) who, in the early 1900s, is arguably believed to be the woman behind Tiffany's most memorable creation—-the Tiffany lamp.
Because Tiffany does not allow the women who work for him to marry, Clara faces the inner struggle of whether to choose the love of her craft and the pursuit of her career over the desire to spend her life with someone ("someone" taking on the role of several men in her life who appear in the novel).
Vreeland keeps the action of the book tightly focused on the turn of the century—the 15 years or so when the Art Nouveau style was at its peak (and provides a fascinating look into the lives of the Tiffany family——I had to do a bit of Wikipedia research after reading about them because I wanted to learn more). Along the way, Vreeland cannot help but incorporate the other major happenings in New York City into the lives of her characters——be it the opening of NYC's first subway line, the first dropping of the Times Square ball at New Year's, or the erection of the Flatiron Building, all of which make for exciting passages in the book.
Overall, I loved the idea of this novel even if,at a few points during its reading, the writing fell a bit flat. (These thoughts often accompanied Vreeland's descriptions——through Clara's eyes——of the process of glass-making and the painstaking assembly of the company's mosaics and lamps; it's complex stuff to have to describe, so I can't entirely fault Vreeland for feeling as such about the material).
Overall a pleasant read and a powerful one for women, especially those of the independent variety. And another wonderful example of how this author finds the most fascinating stories to tell in the world of the arts.
******************************
True story --- when I was in college, for one of my classes, I had to read Vreeland's "Girl in Hyacinth Blue". I loved it. So much so, I decided to write and tell her as much (something I'd never done before with an author whose work I enjoyed.)
I've kept her response all these years, in part which read: "Read much, my dear, and keep notes of your reading. The best writing comes out of love, the source of all good work, coupled with curiosity, receptiveness and a willingness to walk down the path of "what if...?" Blessings, Susan
Can you see why I love her?!
March 12, 2023
While I did learn a bit about Tiffany Studios and Clara Driscoll, this book was far too much like an overwrought and overwritten soap opera for my taste. Clara Driscoll's life, story, and accomplishments could have been much more interesting in a different author's hands, but this Clara weeps, wails, and waits - for acceptance and recognition from Louis Comfort Tiffany, and for love (from LCT?) but doesn't seem to know what to do when she receives what she has been seeking. All in all, this Clara is not a very likable character and I think the real Clara Driscoll probably deserves better.
January 17, 2019
I was able to meet and listen to this author as I was just getting into this book. The author is very interesting and friendly. She didn't start writing until she retired from teaching for 30 years.
This is the story about Clara Driscoll who was just recently discovered (about 2005) to have designed the most artistic and detailed of the famed Tiffany lamps. Mr. Tiffany took the credit for the designs from his studio with the exception of one entered in a Paris exhibition for which he named Clara as the designer.
The novel is set in the late 1800's to the early 1900's. Women were just finally getting to work outside the home and to work in the arts. Comfort Tiffany was extremely eccentric and loved beautiful things. He hired Sara and a department of women as his vision of more exquisite windows was expanding. It is thought that Clara designed the most intricate butterfly, wisteria, etc. lamps of which there is a very limited edition. In the end Clara must decide what makes her happiest, the professional world of her hands or the personal world of her heart.
I enjoyed getting to know the varied characters in the boardinghouse where Clara lives. Highlights of the changing of the new Century included the first "skyscrapers" notably the Flatiron building which was the first of its kind, electricity into everyday lighting, the subways and many more iconic features are mentioned and described in the book.
I enjoyed this book a lot. It was well written with wonderful characters not easily forgotten.
Recommended for lovers of historical fiction and Tiffany lamps!
This is the story about Clara Driscoll who was just recently discovered (about 2005) to have designed the most artistic and detailed of the famed Tiffany lamps. Mr. Tiffany took the credit for the designs from his studio with the exception of one entered in a Paris exhibition for which he named Clara as the designer.
The novel is set in the late 1800's to the early 1900's. Women were just finally getting to work outside the home and to work in the arts. Comfort Tiffany was extremely eccentric and loved beautiful things. He hired Sara and a department of women as his vision of more exquisite windows was expanding. It is thought that Clara designed the most intricate butterfly, wisteria, etc. lamps of which there is a very limited edition. In the end Clara must decide what makes her happiest, the professional world of her hands or the personal world of her heart.
I enjoyed getting to know the varied characters in the boardinghouse where Clara lives. Highlights of the changing of the new Century included the first "skyscrapers" notably the Flatiron building which was the first of its kind, electricity into everyday lighting, the subways and many more iconic features are mentioned and described in the book.
I enjoyed this book a lot. It was well written with wonderful characters not easily forgotten.
Recommended for lovers of historical fiction and Tiffany lamps!
March 29, 2011
Didn't finish this one- got to a bit over 100 pages and then realized that I didn't care what happened next. The premise was interesting: a woman artist working in a time when female artists weren't recognized, Tiffany glass, New York at the turn of the twentieth century.
I wanted to fall into the book, and I just couldn't. Clara's character wasn't likable. She seemed prim, although Clara herself seemed to think she was bohemian. She had a mean-spirited sense of humor, and seemed to think that beauty and drama made things more important. For example, a character commits suicide in an alley. Clara goes to an opera by Wagner afterward and muses about how the death in the opera seems so much richer and meaningful than the actual death of her friend. Seriously, this is her perspective. She isn't enamored of her gentleman friend, even though he works tirelessly and compassionately with the poor, because the poor are unattractive. When she finds out he plays the piano, though, then he becomes interesting, because he's "artistic".
Clara also quickly falls into a boardinghouse full of secondary characters that were very hard for me to tell apart. I don't know if they were supposed to be jolly, bohemian, or what- they had no depth. I couldn't learn more about Clara from her friends, because I couldn't really catch the culture or context in which they lived.
I never got a real feel for the work she did in the Tiffany factory. All the scenes showed her supervising, not actually doing art. And Vreeland does do a good job of evoking the beauty of the glass creations.
Maybe if I already knew a lot about Tiffany and his art I would have enjoyed the book more. I didn't feel like I learned much reading it. It was like looking through a cracked piece of glass that gives you only a partial view of what you're trying to see.
I wanted to fall into the book, and I just couldn't. Clara's character wasn't likable. She seemed prim, although Clara herself seemed to think she was bohemian. She had a mean-spirited sense of humor, and seemed to think that beauty and drama made things more important. For example, a character commits suicide in an alley. Clara goes to an opera by Wagner afterward and muses about how the death in the opera seems so much richer and meaningful than the actual death of her friend. Seriously, this is her perspective. She isn't enamored of her gentleman friend, even though he works tirelessly and compassionately with the poor, because the poor are unattractive. When she finds out he plays the piano, though, then he becomes interesting, because he's "artistic".
Clara also quickly falls into a boardinghouse full of secondary characters that were very hard for me to tell apart. I don't know if they were supposed to be jolly, bohemian, or what- they had no depth. I couldn't learn more about Clara from her friends, because I couldn't really catch the culture or context in which they lived.
I never got a real feel for the work she did in the Tiffany factory. All the scenes showed her supervising, not actually doing art. And Vreeland does do a good job of evoking the beauty of the glass creations.
Maybe if I already knew a lot about Tiffany and his art I would have enjoyed the book more. I didn't feel like I learned much reading it. It was like looking through a cracked piece of glass that gives you only a partial view of what you're trying to see.
December 21, 2017
Clara Driscoll worked for Louis Comfort Tiffany, of Tiffany glass and lampshades during the late 1800's-early 1900's. She always felt that her artistry was not of the same caliber as Mr. Tiffany and some of the other women in his employ. She was hired back after her husband's death to be a manager, not an artist, after all. But she wanted her boss to see her as indispensible and got an idea for a lamp of yellow butterflies and primroses, which turned out beautifully and basically launched the prestigious lamp line for the company (most likely). After reading the intricate descriptions of how it was formulated from concept to design to completion, I had to see this lamp for myself. Not even sure it existed, I pulled up images on Google Chrome, and from among hundreds of pictures, I spotted it instantly. And wow! That was what it took for me to really connect to Clara and to this book, finally, as it is a slow ride from beginning to end.
See the lamp here.
If you're patient, you will see that this book is about beauty-- the magnificent beauty found every day in nature and within our compatriots in life. Mr. Tiffany thought it imperative to create beautiful things so others could live richer lives. Clara's life as a single, progressive, working woman was unusual in Victorian Manhattan; and a real treat to read about. A major topic is women's struggles in the workplace in an age when men joined unions but women did not have that option; when women actually had to stop their careers once they chose to marry.
I first came to know of Susan Vreeland reading Girl in Hyacinth Blue, another art - related book that I loved. Clara's story was interesting and lovely to be sure, but too much detail in parts. 3.5 stars.
See the lamp here.
If you're patient, you will see that this book is about beauty-- the magnificent beauty found every day in nature and within our compatriots in life. Mr. Tiffany thought it imperative to create beautiful things so others could live richer lives. Clara's life as a single, progressive, working woman was unusual in Victorian Manhattan; and a real treat to read about. A major topic is women's struggles in the workplace in an age when men joined unions but women did not have that option; when women actually had to stop their careers once they chose to marry.
I first came to know of Susan Vreeland reading Girl in Hyacinth Blue, another art - related book that I loved. Clara's story was interesting and lovely to be sure, but too much detail in parts. 3.5 stars.
July 21, 2013
Wow. My mother read this a few years ago, and I knew it didn't thrill her, but wow. That was some bad, bad writing. Seriously bad. I can't even.
I don't think Ms Vreeland had an editor, or this never would have been published. The characters were oft-times indistinguishable, relationships were spoken of as though they were significant, but they were totally flat and unbelievable, and there was really no driving narrative. The gilded age New York City setting should have been interesting, but Vreeland is clearly just getting off on referencing things that are still culturally significant today. OMG the subway? The Flatiron building? The "give me your poor" poem?
"A woman named Emma Lazarus wrote that poem as a donation to an auction to help fund the pedestal of Statue of Liberty. It's not well known, but I believe someday it will be."
Wow. Just wow. How cheesy can you get?
The main problem is the character of Clara, who is incredibly obnoxious. Her fixation on Tiffany was downright creepy (I believe she called their creative collaboration "a more sublime love that two lovers would ever share," or some equally ridiculous nonsense. Who talks like that?). More importantly, I know it's interesting to think about how she must have felt, not getting the credit for her design work, but OMG stop having her harp on it all the time! I particularly enjoyed (or not) the line where one of her many menfolk assures her that someday, she will be recognized, even if it does have to happen years after her death. Yes Vreeland, we know that she was rescued from obscurity by some scholars who happened across a box of her letters. Thanks for the clunkiest, most amateurish foreshadowing ever. No really, you suck.
I was particularly disappointed because the Tiffany girls made for a fascinating museum exhibit at the NY Historical Society a few years back. Vreeland had excellent source material, but I can't help but feel that she's a total hack as a writer. Maybe this book could have been saved by pictures of the pieces described. As is, there's only so many times you can read about streaky and crackly and iridescent glass without being totally bored to death.
Skip this at all costs.
I don't think Ms Vreeland had an editor, or this never would have been published. The characters were oft-times indistinguishable, relationships were spoken of as though they were significant, but they were totally flat and unbelievable, and there was really no driving narrative. The gilded age New York City setting should have been interesting, but Vreeland is clearly just getting off on referencing things that are still culturally significant today. OMG the subway? The Flatiron building? The "give me your poor" poem?
"A woman named Emma Lazarus wrote that poem as a donation to an auction to help fund the pedestal of Statue of Liberty. It's not well known, but I believe someday it will be."
Wow. Just wow. How cheesy can you get?
The main problem is the character of Clara, who is incredibly obnoxious. Her fixation on Tiffany was downright creepy (I believe she called their creative collaboration "a more sublime love that two lovers would ever share," or some equally ridiculous nonsense. Who talks like that?). More importantly, I know it's interesting to think about how she must have felt, not getting the credit for her design work, but OMG stop having her harp on it all the time! I particularly enjoyed (or not) the line where one of her many menfolk assures her that someday, she will be recognized, even if it does have to happen years after her death. Yes Vreeland, we know that she was rescued from obscurity by some scholars who happened across a box of her letters. Thanks for the clunkiest, most amateurish foreshadowing ever. No really, you suck.
I was particularly disappointed because the Tiffany girls made for a fascinating museum exhibit at the NY Historical Society a few years back. Vreeland had excellent source material, but I can't help but feel that she's a total hack as a writer. Maybe this book could have been saved by pictures of the pieces described. As is, there's only so many times you can read about streaky and crackly and iridescent glass without being totally bored to death.
Skip this at all costs.
January 31, 2011
Sometimes I really like Susan Vreeland, sometimes she just doesn't do it for me. I think she is at her best when she manages to get inside her characters' heads to show what art means to them or what inspires people to create. I just wasn't getting that from this book.
I loved the idea of the story, showing how women made the beautiful Tiffany glass creations while Mr. Tiffany got all the credit. But the book is full of clunky dialogue explaining the process of working with glass and summing up people's backgrounds. The beginning feels rushed and forced. I'm sure Vreeland did a lot of research and wanted to get all her information in there, but it just wasn't realistic to me.
Maybe I just didn't like Clara. I know I didn't like how much time was spent on her bohemian neighbors instead of on the artwork. To be fair, I only read a little bit, so maybe it gets better, but it just didn't draw me in. I'm really glad I didn't buy it and I wouldn't recommend it.
I loved the idea of the story, showing how women made the beautiful Tiffany glass creations while Mr. Tiffany got all the credit. But the book is full of clunky dialogue explaining the process of working with glass and summing up people's backgrounds. The beginning feels rushed and forced. I'm sure Vreeland did a lot of research and wanted to get all her information in there, but it just wasn't realistic to me.
Maybe I just didn't like Clara. I know I didn't like how much time was spent on her bohemian neighbors instead of on the artwork. To be fair, I only read a little bit, so maybe it gets better, but it just didn't draw me in. I'm really glad I didn't buy it and I wouldn't recommend it.
January 4, 2016
I made myself finish 50 pages of this drivel, and that is all I will be finishing because life is way too short to read crap like this. I can thank the author for inspiring me to create my new "life's too short" bookshelf for books I start and don't finish (not because I lack the will power, but because they are not even worth the time I gave them). Here's some helpful advice for the author: 1. Read some books. About 200 or 300 more. 2. Listen to conversations and find out how people actually talk. They do not actually talk like the characters in your book, and they didn't talk like that 100 years ago either. Or ever. 3. Do you know what info dumping is? Obviously not. Go find out.
I should really be thrilled that historical novels are in vogue at the moment, because when they are good I like them. But I've trudged through two crappy ones in the last month, so I'm getting bitter now. They appear to be aiming for "high concept" - all fine and good if you have the writing chops to come through. But a concept is only as good as the writing and the characters allow it to be. I'm off to go cleanse myself by reading something - anything - else.
I should really be thrilled that historical novels are in vogue at the moment, because when they are good I like them. But I've trudged through two crappy ones in the last month, so I'm getting bitter now. They appear to be aiming for "high concept" - all fine and good if you have the writing chops to come through. But a concept is only as good as the writing and the characters allow it to be. I'm off to go cleanse myself by reading something - anything - else.
June 24, 2011
The woman behind the glass – that is what Clara Driscoll could be referred to. Though there is no certainty that Clara was the innovator for the Tiffany lampshades, that is the assumption made for the purpose of this book.
Here’s a heads up, beauty is NOT is not found anywhere on the inside in this book. With the subtle acts and comments of ignorance, I have to ask, is Clara blinded by beauty? She is portrayed as choosing art over love and even comments that death could be beautiful, in the right setting. Sounds like icicles for heartstrings.
At least the imagery with the colors is beautiful. And I have to admit that the characters’ passion for art is infectious. I can almost understand why Clara revered Tiffany as a Da Vinci. But saying, “Beauty is everything isn’t it?” could be considered fall-flat-on-your-face over the top.
No other issues – not feminism, romance, or poverty – were focused on with more importance than the glass. Who knew I would be getting such a lesson? From the cutting to individual piecing on plaster in order to create the leaded-glass lampshades… My eyes were ready to glaze over before the glass was – Oh No! The lesson is sticking!
Besides the corny lines, the rushed moments of romance, and the oversimplified explanations of metaphors (I am not three years old!), the obsession of art, the unexplained necessity of unmarried women… Wait there was a reason I liked some of this book.
Oh yes, the beautiful imagery was pleasant. Even if I never own a Tiffany lamp that would cost more than my car, I can now appreciate the work that went into one. I just wish I could have appreciated the story of it all a bit more.
- EZ Read Staffer Amelia
watch the video review and meet the reader!: http://vimeo.com/19542589
Here’s a heads up, beauty is NOT is not found anywhere on the inside in this book. With the subtle acts and comments of ignorance, I have to ask, is Clara blinded by beauty? She is portrayed as choosing art over love and even comments that death could be beautiful, in the right setting. Sounds like icicles for heartstrings.
At least the imagery with the colors is beautiful. And I have to admit that the characters’ passion for art is infectious. I can almost understand why Clara revered Tiffany as a Da Vinci. But saying, “Beauty is everything isn’t it?” could be considered fall-flat-on-your-face over the top.
No other issues – not feminism, romance, or poverty – were focused on with more importance than the glass. Who knew I would be getting such a lesson? From the cutting to individual piecing on plaster in order to create the leaded-glass lampshades… My eyes were ready to glaze over before the glass was – Oh No! The lesson is sticking!
Besides the corny lines, the rushed moments of romance, and the oversimplified explanations of metaphors (I am not three years old!), the obsession of art, the unexplained necessity of unmarried women… Wait there was a reason I liked some of this book.
Oh yes, the beautiful imagery was pleasant. Even if I never own a Tiffany lamp that would cost more than my car, I can now appreciate the work that went into one. I just wish I could have appreciated the story of it all a bit more.
- EZ Read Staffer Amelia
watch the video review and meet the reader!: http://vimeo.com/19542589
June 19, 2024
Questo libro è stata una scoperta molto piacevole. Prima di tutto, quella di uno stilo dolce, delicato, pacato, che lentamente mi ha avviluppata nelle emozioni della protagonista.
La storia di Clara, l'inventrice dei paralumi di vetro soffiato (anche se la verità storica è tuttora controversa), si dipana lentamente, nell'arco dei suoi 16 anni alle dipendenze della Tiffany Glass & Decorating Company. L'autrice è riuscita pienamente a trasmettermi l'amore di Clara per la natura ed i suoi fantastici colori. Le forme degli alberi, le sfumature dei fiori, la brillantezza dei petali, i colori cangianti delle foglie sono una costante fonte di ispirazione per Clara, che persegue, in modo quasi maniacale, le modalità per donare luce alla natura. Le descrizioni sono talmente vivide da desiderare di immergersi in quei colori.
Lo sviluppo artistico di Clara si intreccia con lo sviluppo architettonico di una città in piena rivoluzione: New York. Passeggiando o andando in bicicletta insieme a Clara, ho vissuto lo sgomento per la costruzione del Flatiron Building (tra l'altro, ancora oggi, uno dei miei preferiti grattacieli della città); l'eccitazione per il primo viaggio nella sotterranea appena inaugurata; la sorpresa per l'arrivo delle lampadine elettriche di Thomas Edison. "Manhattan, Brooklyn, Queens, Staten Island e il Bronx che diventano un'unica città, la seconda più grande del mondo" è una comprimaria di tutto rispetto.
Tuttavia gli altri personaggi non vanno dimenticati. Prima di tutto, le colleghe di lavoro di Clara, le Tiffany girls, con le quali ho respirato la vera solidarietà femminile che nasce dalla condivisione delle medesime sofferte condizioni di lavoro, delle medesime aspirazioni, pur nelle loro diversità. I residenti della pensione dove vive Clara, con i quali ho vissuto l'amicizia sincera, quella che si nutre di gioie, risate, scherzi, doni e carezze nei momenti di allegria, ma anche, e forse soprattutto, di aiuto, consolazione e sostegno reciproco nei momenti di difficoltà. Intrigante lo strano rapporto tra Clara e Louis Comfort Tiffany. Pur nel rispetto della gerarchia della fabbrica, Mr. Tiffany diventa una specie di mentore per Clara, insegnandole l'amore per la bellezza e spronandola a osare sempre di più. Affetto e delusione si mescolano meravigliosamente in questo rapporto, certo non ortodosso, e fondato sulla reciproca ammirazione. Infine, ho sofferto e gioito per gli amori di Clara verso uomini molto diversi. Edwin è l'uomo che le mostra un altro mondo: l'immigrazione in tutti i suoi degradanti colori, abbelliti tuttavia dalla dignità di queste persone che sognano solo una vita migliore. Bernard è l'uomo che la aspetta. Sì, perchè Mr. Tiffany non vuole donne spostate alle sue dipendenze. Così il matrimonio si traduce immediatamente in licenziamento. L'ingiustizia di questa politica traspira da ogni pensiero di Clara, sempre indecisa sull'abbandonare un lavoro che adora per l'uomo che ama.
Il libro è anche un romanzo storico con una accurata ricostruzione del periodo. Ho così conosciuto non solamente le condizioni di lavoro delle lavoratrici (alla politica di Mr. Tiffany di non assumere donne sposate si aggiunge quella dei sindacati che vietano l'iscrizione alle donne), ma anche le discriminazioni subite non solo da parte dei padroni, ma, più scioccanti ed insopportabili, da parte dei lavoratori. Mi sono indignata ed ho marciato insieme alle Tiffany girls per la difesa del posto di lavoro, con la speranza di iniziare a lastricare la lunga e difficile strada delle pari opportunità. Anche qui SV non delude, intrecciando la vicenda con i dubbi, le paure, le speranze delle giovani protagoniste.
Le descrizioni, forse troppo dettagliate e, a volte, un po' pedanti, dei vari processi di produzione delle vetrate e dei paralumi sono l'unica pecca di questo libro. Totalmente incomprensibili, per me. Per fortuna sono poche pagine! ;-)
Consigliato vivamente a chi ha voglia di riconciliarsi con la natura... e con l'ispirazione che essa è in grado di generare.
La storia di Clara, l'inventrice dei paralumi di vetro soffiato (anche se la verità storica è tuttora controversa), si dipana lentamente, nell'arco dei suoi 16 anni alle dipendenze della Tiffany Glass & Decorating Company. L'autrice è riuscita pienamente a trasmettermi l'amore di Clara per la natura ed i suoi fantastici colori. Le forme degli alberi, le sfumature dei fiori, la brillantezza dei petali, i colori cangianti delle foglie sono una costante fonte di ispirazione per Clara, che persegue, in modo quasi maniacale, le modalità per donare luce alla natura. Le descrizioni sono talmente vivide da desiderare di immergersi in quei colori.
Lo sviluppo artistico di Clara si intreccia con lo sviluppo architettonico di una città in piena rivoluzione: New York. Passeggiando o andando in bicicletta insieme a Clara, ho vissuto lo sgomento per la costruzione del Flatiron Building (tra l'altro, ancora oggi, uno dei miei preferiti grattacieli della città); l'eccitazione per il primo viaggio nella sotterranea appena inaugurata; la sorpresa per l'arrivo delle lampadine elettriche di Thomas Edison. "Manhattan, Brooklyn, Queens, Staten Island e il Bronx che diventano un'unica città, la seconda più grande del mondo" è una comprimaria di tutto rispetto.
Tuttavia gli altri personaggi non vanno dimenticati. Prima di tutto, le colleghe di lavoro di Clara, le Tiffany girls, con le quali ho respirato la vera solidarietà femminile che nasce dalla condivisione delle medesime sofferte condizioni di lavoro, delle medesime aspirazioni, pur nelle loro diversità. I residenti della pensione dove vive Clara, con i quali ho vissuto l'amicizia sincera, quella che si nutre di gioie, risate, scherzi, doni e carezze nei momenti di allegria, ma anche, e forse soprattutto, di aiuto, consolazione e sostegno reciproco nei momenti di difficoltà. Intrigante lo strano rapporto tra Clara e Louis Comfort Tiffany. Pur nel rispetto della gerarchia della fabbrica, Mr. Tiffany diventa una specie di mentore per Clara, insegnandole l'amore per la bellezza e spronandola a osare sempre di più. Affetto e delusione si mescolano meravigliosamente in questo rapporto, certo non ortodosso, e fondato sulla reciproca ammirazione. Infine, ho sofferto e gioito per gli amori di Clara verso uomini molto diversi. Edwin è l'uomo che le mostra un altro mondo: l'immigrazione in tutti i suoi degradanti colori, abbelliti tuttavia dalla dignità di queste persone che sognano solo una vita migliore. Bernard è l'uomo che la aspetta. Sì, perchè Mr. Tiffany non vuole donne spostate alle sue dipendenze. Così il matrimonio si traduce immediatamente in licenziamento. L'ingiustizia di questa politica traspira da ogni pensiero di Clara, sempre indecisa sull'abbandonare un lavoro che adora per l'uomo che ama.
Il libro è anche un romanzo storico con una accurata ricostruzione del periodo. Ho così conosciuto non solamente le condizioni di lavoro delle lavoratrici (alla politica di Mr. Tiffany di non assumere donne sposate si aggiunge quella dei sindacati che vietano l'iscrizione alle donne), ma anche le discriminazioni subite non solo da parte dei padroni, ma, più scioccanti ed insopportabili, da parte dei lavoratori. Mi sono indignata ed ho marciato insieme alle Tiffany girls per la difesa del posto di lavoro, con la speranza di iniziare a lastricare la lunga e difficile strada delle pari opportunità. Anche qui SV non delude, intrecciando la vicenda con i dubbi, le paure, le speranze delle giovani protagoniste.
Le descrizioni, forse troppo dettagliate e, a volte, un po' pedanti, dei vari processi di produzione delle vetrate e dei paralumi sono l'unica pecca di questo libro. Totalmente incomprensibili, per me. Per fortuna sono poche pagine! ;-)
Consigliato vivamente a chi ha voglia di riconciliarsi con la natura... e con l'ispirazione che essa è in grado di generare.
June 26, 2016
Audio book performed by Kimberly Farr
This is an interesting historical novel that tells the story of the woman behind (and in many ways WAY in front of) the man.
Clara Driscoll was a woman of artistic vision. It was she who first thought of using nature themes in stained glass lamp shades. It was her dragon-fly lamp design that won an award at the 1900 Paris World Fair; the newspapers reported the award was won by Louis Comfort Tiffany, but her name was listed as designer.
Vreeland crafts a fine novel that brings the reader into the world of these artists and artisans. We are immersed in the sounds, smells and sights of New York City, circa 1892 to 1908. This was a time when women’s rights were hotly debated, and Clara Driscoll and her “Tiffany Girls” were in the middle of the maelstrom. Due to Tiffany’s policy of not hiring married women (he felt their dedication to the art and the work would suffer), Clara essentially set aside her own personal life for the chance to explore the boundaries of her creativity. Under her management the Women’s Department achieved major success.
This is a novel, however, and needs some personal tension to hold our interest. Vreeland admits to some need for embellishing details of Clara’s personal life, but the novel’s major characters were all real people – the artists, friends and influences in Clara Driscoll’s life. Vreeland was fortunate to be able to read and study Driscoll’s correspondence, passed down to her heirs and carefully preserved by archivists and conservators. They formed the framework on which the novel was built, and that note of authenticity makes it all the more enjoyable. Vreeland gives us a Clara that is passionate about her art and her work, independent and courageous when standing up to bullies, vulnerable and conflicted about whether to choose love or her life’s work. The Clara Driscoll on these pages shines with all the vivid color of the most glorious Tiffany window or lamp. I’ve read other books by Vreeland, and as with the others, I find that her writing results in a change in how I look at things. Her novels awaken in me a desire to seek beauty in my surroundings … whether the delicate lace wings of a dragonfly, or the infinite shades of white and gray in a winter landscape
Kimberly Farr does a very good job on the audio book. She has a good pace and enough skill with dialect and voice inflection to differentiate the many characters.
This is an interesting historical novel that tells the story of the woman behind (and in many ways WAY in front of) the man.
Clara Driscoll was a woman of artistic vision. It was she who first thought of using nature themes in stained glass lamp shades. It was her dragon-fly lamp design that won an award at the 1900 Paris World Fair; the newspapers reported the award was won by Louis Comfort Tiffany, but her name was listed as designer.
Vreeland crafts a fine novel that brings the reader into the world of these artists and artisans. We are immersed in the sounds, smells and sights of New York City, circa 1892 to 1908. This was a time when women’s rights were hotly debated, and Clara Driscoll and her “Tiffany Girls” were in the middle of the maelstrom. Due to Tiffany’s policy of not hiring married women (he felt their dedication to the art and the work would suffer), Clara essentially set aside her own personal life for the chance to explore the boundaries of her creativity. Under her management the Women’s Department achieved major success.
This is a novel, however, and needs some personal tension to hold our interest. Vreeland admits to some need for embellishing details of Clara’s personal life, but the novel’s major characters were all real people – the artists, friends and influences in Clara Driscoll’s life. Vreeland was fortunate to be able to read and study Driscoll’s correspondence, passed down to her heirs and carefully preserved by archivists and conservators. They formed the framework on which the novel was built, and that note of authenticity makes it all the more enjoyable. Vreeland gives us a Clara that is passionate about her art and her work, independent and courageous when standing up to bullies, vulnerable and conflicted about whether to choose love or her life’s work. The Clara Driscoll on these pages shines with all the vivid color of the most glorious Tiffany window or lamp. I’ve read other books by Vreeland, and as with the others, I find that her writing results in a change in how I look at things. Her novels awaken in me a desire to seek beauty in my surroundings … whether the delicate lace wings of a dragonfly, or the infinite shades of white and gray in a winter landscape
Kimberly Farr does a very good job on the audio book. She has a good pace and enough skill with dialect and voice inflection to differentiate the many characters.
May 28, 2011
I really wanted to like this book. It is based on the life of Clara Driscoll, the women who created the Tiffany lamps, and it has all of the elements of a good story: a turn-of-the-century New York setting, a "strong" female protagonist who must choose between love or her talent, the bonhomie of the art world, etc. Hm. The characters were two-dimensional, there was way too much information about the construction of stained-glass pieces (the book should have included pictures of the pieces so rubes like me could have a greater appreciation of what was created), there was way too much information about how many pieces of glass people made each day, the characters had as much depth as milkglass (meaning that all of the characters were quirky in ways that we want them to be quirky, but that we never really see in real life), and the bonhomie seemed contrived. I think the editor was too kind; there were many scenes that did not add to the plot and bogged the story down, for example, Vreeland describes Clara walking away with someone else's pencil and then turning back to return it to its rightful owner. There was no point (except on the pencil). Only New York fared well, but it's really hard for New York to go wrong. Chigago also makes an appearance as Mr. Tiffany showcases some of his pieces at the 1893 World's Fair, but the descriptions of the exposition seemed like they were lifted out of Erik Larsen's The Devil in the White City (a book You Should Read), but I didn't see any mention of it in Vreeland's acknowledgements. All this book made me want to do was buy a plane ticket to New York with a stop-over in Chicago.
Want to read
October 14, 2022iykyk 👀
December 5, 2010
There are many things to like about this novel though sometimes it felt like the story was a mosaic with each element being very separate from the others. It could have benefited from a more fluid integration of the individual elements and would have made for greater reading enjoyment on my part.
I really liked the bits of history woven in, the rising popularity of the bicycle, the opening of the subway, the development of the city as the wealthy moved into the area, women organizing for their right for better pay and the right to vote.
I enjoyed the story of Clara Driscoll's life, the personal as well as professional. She was one of very few women working the Arts and Crafts industry at the turn of the century. She worked for Louis Comfort Tiffany making beautiful mosaic lamps and stained glass windows.
I loved the descriptions of the glass and the inspirations for the art Clara and the women in her department created. It made me nostalgic for art class and I wanted to go see some Tiffany glass at a museum. Coincidence alleviated any planning needed on my part and while I was reading this book my daughter's class took a field trip to the Johnson Art Museum at Cornell University and I was happy to see some examples of Favrile glass, a type of iridescent art glass designed by Louis Comfort Tiffany.
I also enjoyed reading about Clara's friendship with artists George Waldo and Dudley Carpenter and Henry McBride the art critic. The intrigue regarding her romantic relationship was moving and well written, though I would have liked the ending of this story to have been better developed. There were times when the story felt very much like it was being draped over a skeleton of facts instead of woven around them.
I would have appreciated more character development of Clara's female co-workers, their stories were included but not very well fleshed out. The ending has some dramatic personal crises that seemed disjointed from the rest of the book and some interactions that didn't feel authentic.
I did grow to enjoy these characters and I enjoyed Vreeland's rendering of New York City at the turn of the century. But I also felt like I may have had too high an expectation for Vreeland's writing given all of the critical acclaim her other novels have generated. I did like this and there were parts I loved, but it didn't knock my socks off like I had hoped it would, still a worthwhile read to learn about Louis Comfort Tiffany and Clara Driscoll.
I really liked the bits of history woven in, the rising popularity of the bicycle, the opening of the subway, the development of the city as the wealthy moved into the area, women organizing for their right for better pay and the right to vote.
I enjoyed the story of Clara Driscoll's life, the personal as well as professional. She was one of very few women working the Arts and Crafts industry at the turn of the century. She worked for Louis Comfort Tiffany making beautiful mosaic lamps and stained glass windows.
I loved the descriptions of the glass and the inspirations for the art Clara and the women in her department created. It made me nostalgic for art class and I wanted to go see some Tiffany glass at a museum. Coincidence alleviated any planning needed on my part and while I was reading this book my daughter's class took a field trip to the Johnson Art Museum at Cornell University and I was happy to see some examples of Favrile glass, a type of iridescent art glass designed by Louis Comfort Tiffany.
I also enjoyed reading about Clara's friendship with artists George Waldo and Dudley Carpenter and Henry McBride the art critic. The intrigue regarding her romantic relationship was moving and well written, though I would have liked the ending of this story to have been better developed. There were times when the story felt very much like it was being draped over a skeleton of facts instead of woven around them.
I would have appreciated more character development of Clara's female co-workers, their stories were included but not very well fleshed out. The ending has some dramatic personal crises that seemed disjointed from the rest of the book and some interactions that didn't feel authentic.
I did grow to enjoy these characters and I enjoyed Vreeland's rendering of New York City at the turn of the century. But I also felt like I may have had too high an expectation for Vreeland's writing given all of the critical acclaim her other novels have generated. I did like this and there were parts I loved, but it didn't knock my socks off like I had hoped it would, still a worthwhile read to learn about Louis Comfort Tiffany and Clara Driscoll.
July 28, 2011
Having just seen the Tiffany exhibit at Biltmore Estate, devoted mostly to Tiffany lamps, it was a perfect time to read this historical novel. In one respect, it did not disappoint: it gave me some insight into the design and construction of the lamps and the making and choosing of the extraordinary glass that gives them life.
According to the postscript, this life of Clara Driscoll is highly fictionalized---and it’s not known whether Clara actually was instrumental in initiating the lamp line for Tiffany as portrayed in the book though it does seem she and "the Tiffany girls" were responsible for designing the famous lamps so long attributed to Tiffany himself. She is painted as an unrewarded artistic innovator—unrewarded both because she was a woman and because Tiffany routinely took most of the credit himself!
However, that’s not my problem with the book. My problem is that it’s not well-written. The author is writing about a potentially interesting figure, unfettered by lots of facts about her actual life (because they are not available), and with attendant issues like unionism, women’s rights, immigration, homosexuality, the artist’s life, the growth of New York City---and with all that rich material the story is not that compelling! I wanted to be interested in Clara Driscoll, but she was tedious and two-dimensional; I continued reading because of my interest in Tiffany glass.
According to the postscript, this life of Clara Driscoll is highly fictionalized---and it’s not known whether Clara actually was instrumental in initiating the lamp line for Tiffany as portrayed in the book though it does seem she and "the Tiffany girls" were responsible for designing the famous lamps so long attributed to Tiffany himself. She is painted as an unrewarded artistic innovator—unrewarded both because she was a woman and because Tiffany routinely took most of the credit himself!
However, that’s not my problem with the book. My problem is that it’s not well-written. The author is writing about a potentially interesting figure, unfettered by lots of facts about her actual life (because they are not available), and with attendant issues like unionism, women’s rights, immigration, homosexuality, the artist’s life, the growth of New York City---and with all that rich material the story is not that compelling! I wanted to be interested in Clara Driscoll, but she was tedious and two-dimensional; I continued reading because of my interest in Tiffany glass.
December 16, 2015
There were parts of this book that I loved - history, classism, feminism, unionism, time period, the history of stained glass making. In fact, I spent a lot of time at my computer looking up different aspects of the history of Tiffany's stained glass windows, panels and lamps that was really interesting for me. And, they truly are beautiful!
Years ago I took a class in stained glass and worked at it for a couple of years but found it so much harder and more complicated than I imagined it to be. It is truly a difficult "hobby" and takes great skill.
The downfall of the book for me was its repetitiveness. So much of it
was the same that it bordered on boring at times. It could have been condensed by at least a third and been just as informative without being so heavy handed.
Years ago I took a class in stained glass and worked at it for a couple of years but found it so much harder and more complicated than I imagined it to be. It is truly a difficult "hobby" and takes great skill.
The downfall of the book for me was its repetitiveness. So much of it
was the same that it bordered on boring at times. It could have been condensed by at least a third and been just as informative without being so heavy handed.
February 2, 2011
Loved this book! Learned so much about making stained glass windows and shades, Tiffany and company, and the Victorian art period and the beginning of the art noveau movement in New York. Also met some wonderful people who were involced in these movements.
June 21, 2018
This book is really great
It's really hard-to put down.
I love it
It's really hard-to put down.
I love it
August 14, 2020
This moved awfully slowly and was overwhelmed by a lot of characters who were hard to keep straight.
May 23, 2022
Review originally published April 2011
When my children were young, I took interior design classes at what was then called Western Wisconsin Technical College. One of the things that I became enthralled with was lamps, namely stained glass lamps. I saved and saved, and when I thought I had enough money, I went to a glass studio in downtown La Crosse and drew out a tulip shape with pointed tips that I wanted done in different shades of soft, pale blue. I wanted two lamps, and I wanted to hang them upside down in our bedroom over a long low dresser.
The artist did an excellent job, and I was so excited when I saw them hanging; they looked so different when they were lit. I had them for ten plus years and then changed the décor in the bedroom, so I gave the lamps away, but I remember them very well. There were seven big pieces that made up ninety percent of the shade and ten small pieces.
I also have two pieces of stained glass that I display in our living room window at different times of the year. One piece is a bee that I bought in a gift shop in Eau Claire several years ago that I hang up in the summer. It’s eye catching because it’s about twenty four inches across and twenty inches up and down. I also have a beautiful lit candle with holly at the base that I put up for the Christmas holidays.
Recently a coworker recommended a new book to me that she had just finished called Clara and Mr. Tiffany. It’s written by New York Times bestselling author Susan Vreeland.
Clara and Mr. Tiffany is a work of historical fiction. On the copyright page, it states:
Obviously, Susan Vreeland wasn’t in New York when Mrs. Clara Driscoll became a widow and went back to work for Louis Tiffany at Tiffany Glass and Decorating Company in 1893, but she makes you feel as if she were and you were too. You become immersed in the world of formal balls and the opera alongside the poverty of the immigrant workers of the Lower East Side.
You’ll feel the mental and emotional strain of Louis Tiffany as he strives to come out of his father’s shadow when he makes his debut at the Chicago World’s Fair with his innovative stained glass windows. You’ll wonder why this business that employs men from many diverse walks of life has the strict policy that it will only employ unmarried women.
Clara is the visionary head of the women’s division and very devoted to Tiffany. She struggles with her desire to be recognized for her artistic abilities, but Mr. Tiffany is credited for all her iconic designs and, eventually, the leaded glass lamps.
This freethinking, courageous woman has to face many challenges in her personal and professional life, and ultimately is forced to protest against the company she has worked so hard to cultivate.
If you like historical fiction, this is a well-written, detailed book about American culture that you won’t want to put down. The descriptions of the beautiful glass, compared to the squalor of the tenements, is impressive. Tiffany lamps are still sought after today, and I’m sure that would make Clara and Mr. Louis Tiffany very proud.
See also:
The La Crosse County Libraries located in Bangor, Campbell, Holmen, Onalaska, and West Salem have other books that Susan Vreeland has written:
Girl in Hyacinth Blue
The Passion of Artemisia
The Forest Lover
Life Studies: Stories
Luncheon of the Boating Party
If you’re interested in other historical novels, we have books by Mary Sharratt, Elizabeth Chadwick, Michelle Moran, and many others. If you want to learn more about stained glass or lamps, we have books on those subjects, too. Please ask any of us for help to request any item in our catalog.
Find this book and other titles within our catalog.
When my children were young, I took interior design classes at what was then called Western Wisconsin Technical College. One of the things that I became enthralled with was lamps, namely stained glass lamps. I saved and saved, and when I thought I had enough money, I went to a glass studio in downtown La Crosse and drew out a tulip shape with pointed tips that I wanted done in different shades of soft, pale blue. I wanted two lamps, and I wanted to hang them upside down in our bedroom over a long low dresser.
The artist did an excellent job, and I was so excited when I saw them hanging; they looked so different when they were lit. I had them for ten plus years and then changed the décor in the bedroom, so I gave the lamps away, but I remember them very well. There were seven big pieces that made up ninety percent of the shade and ten small pieces.
I also have two pieces of stained glass that I display in our living room window at different times of the year. One piece is a bee that I bought in a gift shop in Eau Claire several years ago that I hang up in the summer. It’s eye catching because it’s about twenty four inches across and twenty inches up and down. I also have a beautiful lit candle with holly at the base that I put up for the Christmas holidays.
Recently a coworker recommended a new book to me that she had just finished called Clara and Mr. Tiffany. It’s written by New York Times bestselling author Susan Vreeland.
Clara and Mr. Tiffany is a work of historical fiction. On the copyright page, it states:
“Apart from the well-known actual people, events, and locales that figure in the narrative, all names, characters, places and incidents are the products of the author’s imagination or are used fictitiously.”
Obviously, Susan Vreeland wasn’t in New York when Mrs. Clara Driscoll became a widow and went back to work for Louis Tiffany at Tiffany Glass and Decorating Company in 1893, but she makes you feel as if she were and you were too. You become immersed in the world of formal balls and the opera alongside the poverty of the immigrant workers of the Lower East Side.
You’ll feel the mental and emotional strain of Louis Tiffany as he strives to come out of his father’s shadow when he makes his debut at the Chicago World’s Fair with his innovative stained glass windows. You’ll wonder why this business that employs men from many diverse walks of life has the strict policy that it will only employ unmarried women.
Clara is the visionary head of the women’s division and very devoted to Tiffany. She struggles with her desire to be recognized for her artistic abilities, but Mr. Tiffany is credited for all her iconic designs and, eventually, the leaded glass lamps.
This freethinking, courageous woman has to face many challenges in her personal and professional life, and ultimately is forced to protest against the company she has worked so hard to cultivate.
If you like historical fiction, this is a well-written, detailed book about American culture that you won’t want to put down. The descriptions of the beautiful glass, compared to the squalor of the tenements, is impressive. Tiffany lamps are still sought after today, and I’m sure that would make Clara and Mr. Louis Tiffany very proud.
See also:
The La Crosse County Libraries located in Bangor, Campbell, Holmen, Onalaska, and West Salem have other books that Susan Vreeland has written:
Girl in Hyacinth Blue
The Passion of Artemisia
The Forest Lover
Life Studies: Stories
Luncheon of the Boating Party
If you’re interested in other historical novels, we have books by Mary Sharratt, Elizabeth Chadwick, Michelle Moran, and many others. If you want to learn more about stained glass or lamps, we have books on those subjects, too. Please ask any of us for help to request any item in our catalog.
Find this book and other titles within our catalog.
July 25, 2018
2.5 stars
Read
February 26, 2011Clara and Mr. Tiffany by Susan Vreeland is the delightful fictionalized story of Clara Driscoll and the years she worked with Louis Comfort Tiffany at his New York studio. Clara Discoll was the head of the Tiffany Women’s Division and possibly the person who conceived the idea for the iconic Tiffany stained glass lamps.
According to Susan Vreeland, Clara Driscoll’s story came to life through letters she wrote to her mother and sisters:
“By a remarkable coincidence, three individuals unknown to each other, a distant relative of Clara Driscoll, 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 steeped in the work of Louis Comfort Tiffany, Martin Eidelberg and Nina Gray. Astonishingly, they were informed of two treasure troves of letters within just a few days of each other in 2005–one collection owned by Kelso House Museum in Kent, Ohio and housed at Kent State University Library, the other owned by the Queens Historical Society.”
From these letters comes a remarkable story about a woman who forged her way in New York City at the turn of the twentieth century. Clara struggles with being a professional woman at a time when women’s rights in the workplace were not recognized as well as her personal desire for her work to be recognized and attributed to her. Clara’s story unfolds with the backdrop of New York City life, the plight of new immigrants, the evolution of the decorative arts at Tiffany Studios on the heels of the Arts and Crafts Movement and her personal desire for love and companionship.
Susan Vreeland creates a wonderful, compelling story that makes me want to head to the Metropolitan Museum of Art or other places where Tiffany’s work is displayed in order to see the beautiful creations that Clara poured her heart and soul into designing and creating. I listened to the book and Kimberly Farr’s narration was excellent. ~~Enjoy~~ --Kara
From ICPL Staff Picks Blog
According to Susan Vreeland, Clara Driscoll’s story came to life through letters she wrote to her mother and sisters:
“By a remarkable coincidence, three individuals unknown to each other, a distant relative of Clara Driscoll, 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 steeped in the work of Louis Comfort Tiffany, Martin Eidelberg and Nina Gray. Astonishingly, they were informed of two treasure troves of letters within just a few days of each other in 2005–one collection owned by Kelso House Museum in Kent, Ohio and housed at Kent State University Library, the other owned by the Queens Historical Society.”
From these letters comes a remarkable story about a woman who forged her way in New York City at the turn of the twentieth century. Clara struggles with being a professional woman at a time when women’s rights in the workplace were not recognized as well as her personal desire for her work to be recognized and attributed to her. Clara’s story unfolds with the backdrop of New York City life, the plight of new immigrants, the evolution of the decorative arts at Tiffany Studios on the heels of the Arts and Crafts Movement and her personal desire for love and companionship.
Susan Vreeland creates a wonderful, compelling story that makes me want to head to the Metropolitan Museum of Art or other places where Tiffany’s work is displayed in order to see the beautiful creations that Clara poured her heart and soul into designing and creating. I listened to the book and Kimberly Farr’s narration was excellent. ~~Enjoy~~ --Kara
From ICPL Staff Picks Blog
December 24, 2017
Another winner from Vreeland. Here she focuses on a craft vs. fine art and a female vs. male artists. I now know how the phrase "23 skiddo" came from. (When they were building the Flatiron building in NYC, the winds came from the triangular building to blow up the ladies skirts ala Marilyn Monroe in the Seven Year Itch. The cops would tell the guys Skidoo, and it was on 23rd Street.) Now that was very clever to add it when Vreeland did, because other tidbits of the time (like O. Henry opening up the door to ladies) felt forced.
My husband does stained glass so I understand the parts about selecting, cutting and foil wrapping. Interesting that Clara liked natural light to pick the colors because the lights themselves were electric (at the end anyway. I never thought about her designing for oil lamps, and how the bases were just as important as the lampshade.)
I have my usual complaint about these "poor women who didn't get credit because of their husbands or some other egoistical man" books--true, they didn't get the credit they deserved...however those guys gave them the opportunities to learn, earn, do the work and even as Clara constantly says, it was a team effort. She designed the projects, but others did the work to make them exist. She is certainly getting credit now. I don't think the male designers got credit either. Even now, if you say, invent something working at a company, it's the company who gets the credit to the public eye, not the individual even though his name is also on the patent.
Vreeland should have added what became of the sister who dropped out of school since that was such a big changing point of Clara's life. In fact, no mention was made of her family at all.
And my other usual complaint about any art books--photos would have been nice, both of the people and the projects.
December 17, 2010
Although Clara and Mr. Tiffany is historical fiction, Clara Driscoll and some of the other characters as well as the well-known Louis Comfort Tiffany were real people. Tiffany is famous; his designers, including Clara, who did the work for which he got credit, are not.
Clara, as a widow, was allowed to work for Mr. Tiffany, but any of his “girls” who married had to leave the company immediately, leading to some disastrous results. The men who worked for Tiffany resented the women's presence, even though they worked in a separate division. Tiffany himself was an odd person, living in his father's shadow, kind at one moment and a self-absorbed tyrant at the next. Not a great work environment.
The characters are not cookie-cutter renditions, so they had both good and bad qualities. Clara went on too much about the lack of acknowledgment for her work, but sometimes treated others the same way. I loved the information about the women's fights for equalities, would have liked to read more of it. There were quite a few characters introduced early on, and I had trouble keeping some of them straight. Still, this would have been a four-star read for me if not for one thing:
For my taste, the book was much too long for the story it was telling. It would have been a fabulous 200 - 250 page book, but at more than 400 pages, there was too much detail. I initially found the details about the design and making of the glass pieces to be interesting, but it seems that I had to read about every possible variation in the ways to make glass, every inspiration for every design. Too much of a good thing is still too much.
The copy I read was an advance reader's edition, provided to me by the publisher.
Clara, as a widow, was allowed to work for Mr. Tiffany, but any of his “girls” who married had to leave the company immediately, leading to some disastrous results. The men who worked for Tiffany resented the women's presence, even though they worked in a separate division. Tiffany himself was an odd person, living in his father's shadow, kind at one moment and a self-absorbed tyrant at the next. Not a great work environment.
The characters are not cookie-cutter renditions, so they had both good and bad qualities. Clara went on too much about the lack of acknowledgment for her work, but sometimes treated others the same way. I loved the information about the women's fights for equalities, would have liked to read more of it. There were quite a few characters introduced early on, and I had trouble keeping some of them straight. Still, this would have been a four-star read for me if not for one thing:
For my taste, the book was much too long for the story it was telling. It would have been a fabulous 200 - 250 page book, but at more than 400 pages, there was too much detail. I initially found the details about the design and making of the glass pieces to be interesting, but it seems that I had to read about every possible variation in the ways to make glass, every inspiration for every design. Too much of a good thing is still too much.
The copy I read was an advance reader's edition, provided to me by the publisher.
December 18, 2019
I'm a tad bit better off for having read it, I suppose. Vreeland transported me again to the time period of the World Fair in Chicago, 1895 (?), which I loved. I could see art, the city, the inside of a millionaire's gaudy mansion, and the nature spaces near NYC through the eyes of a true artist who sees beauty, longingly, in every little thing, gushing at the color schemes and delicate intricacies of a mere petal. I don't see the world like this, so I feel I've been somewhere new. I'm embarrassed to say that I have often thought for a moment, when looking upon a Tiffany lamp, "Wow! That's gorgeous," before moving on. Now, I know the painstaking work, vision, and love that went into such a piece, and the social history that made that lamp available to behold. It was a worthwhile read, although not very exciting or groundbreaking.
The plot elements developed rather passionlessly. mainly Clara's love life. I was pretty shocked to see that it was based on fact. I couldn't relate to Clara at all at any point in the book, but felt respect for someone who is so logical and cool-headed. In all, at no point was I eager to get back into the book, but enjoyed being there, a little, when I was, and felt that I gained some historical insight and new perspective (what it's like to be an artist). I don't particularly recommend reading this whole book; a few excerpts and a plot summary will achieve as much, even though I read every last word.
The plot elements developed rather passionlessly. mainly Clara's love life. I was pretty shocked to see that it was based on fact. I couldn't relate to Clara at all at any point in the book, but felt respect for someone who is so logical and cool-headed. In all, at no point was I eager to get back into the book, but enjoyed being there, a little, when I was, and felt that I gained some historical insight and new perspective (what it's like to be an artist). I don't particularly recommend reading this whole book; a few excerpts and a plot summary will achieve as much, even though I read every last word.
Shelved as 'dnf-bc-i-choose-happiness'
October 26, 2022This was another book I picked up without knowing anything about the author or title or story itself. It had a beautiful cover, so I instantly bought it!
I was a little scared that it was historical fiction, as I’m not a historical-fiction-kind-of-gal… and once I started reading it, I was a little alarmed because I literally don’t know anything about the art of stained glass or have any interest in it. I was able to appreciate it as I was reading it, but it honestly got boring fast, and I wasn’t too invested in the story. I found myself trudging through it and skimmed some parts… and around book 2 (about 70 pages in), I decided that was enough for me.
But I saw all the great reviews and didn’t want to give up completely, so I switched to the audiobook. Even after listening to it for a little bit, it wasn’t much better, and I just didn’t have any interest in finding out what happened next. This year, I’ve decided to start DNF’ing books more often instead of just simply going through the motions of reading a book just to finish it. Maybe I’ll come back to this one in the future, but for now, it’s a no from me :(
I was a little scared that it was historical fiction, as I’m not a historical-fiction-kind-of-gal… and once I started reading it, I was a little alarmed because I literally don’t know anything about the art of stained glass or have any interest in it. I was able to appreciate it as I was reading it, but it honestly got boring fast, and I wasn’t too invested in the story. I found myself trudging through it and skimmed some parts… and around book 2 (about 70 pages in), I decided that was enough for me.
But I saw all the great reviews and didn’t want to give up completely, so I switched to the audiobook. Even after listening to it for a little bit, it wasn’t much better, and I just didn’t have any interest in finding out what happened next. This year, I’ve decided to start DNF’ing books more often instead of just simply going through the motions of reading a book just to finish it. Maybe I’ll come back to this one in the future, but for now, it’s a no from me :(
September 16, 2019
This novel is based on the true story of one of the workers who created Tiffany lamps. The book was interesting, though maybe a bit too much like a soap opera for my tastes. The historical aspects of the book were riveting.
While reading the book you will get a look at New York City's current events as the 1800's move to the 1900's. Clara Driscoll is a designer for Tiffany lamps and she loves her job. L.O.V.E.S. her job. She is willing to put everything else in her life on hold in order to design for Mr. Tiffany. Women's rights are an important topic in the book, as are the problems new immigrants face.
I would recommend this book to those who enjoy women's issues or historical fiction.
While reading the book you will get a look at New York City's current events as the 1800's move to the 1900's. Clara Driscoll is a designer for Tiffany lamps and she loves her job. L.O.V.E.S. her job. She is willing to put everything else in her life on hold in order to design for Mr. Tiffany. Women's rights are an important topic in the book, as are the problems new immigrants face.
I would recommend this book to those who enjoy women's issues or historical fiction.
August 27, 2015
In this turn of the century historical drama, Clara Driscoll is the brain behind the genius Tiffany lamps, not the great Louis Tiffany. It spans almost twenty years of her life and career, and highlights the difficulty of employed women in that area. It's an interesting, creative novel, strong in exactly the right kind of girl power.
The only thing I had issues with was that the book moved slowly to me. It would have made four stars had the pacing been a little better.
The only thing I had issues with was that the book moved slowly to me. It would have made four stars had the pacing been a little better.
November 11, 2013
Fantastic read. I love historical fiction because it can teach you so much about a particular era. I actually picked up the book based on the beautiful cover and after reading the inside jacket. The story moves along at a good pace and you come to really know the characters. I became a lot more interested in knowing more about the Gilded Age that I was before.
March 11, 2012
I would like to give it more stars because it had the makings of a good book but I just couldn't get completely into it. Way too much in the way of flowery descriptions of colors and glass for me and the dialogue was just rather strange. I think the real story of Clara is probably very interesting but the way this was told, I only saw flashes of it.
It must have been a lot of work because she touches on most of the historical data of the Gilded Age and I would have loved to have known more. Women were treated very unfairly at the time and Clara did her best (even if a bit bossily) to take care of the women that worked for her. It was a bit over the top about how the women did so much more than the men but didn't get credit for it (hmm, think a lot of that is still with us today but obviously not as much). I don't think Mr. Tiffany was probably as nice as she tries to portray him here but would have to read more to know that for sure. She seems to like him and defend him but at the same time, there is an awful lot of the woman behind the man stuff.
In the interest of truth, I did not read the book. I was down over two weeks with a terrible case of acute bronchitis and I listened to it on CD with earbuds (would have supplemented with the book but didn't want to buy it). I do not feel that I get the full measure of a book when I listen to it rather than read it but in this case, it was all I felt like doing. Since I couldn't sleep for a week, I spent a lot of time sitting up listening to it and dozing off and then having to go back and start again. Because of this, I heard Clara's voice through the reader which may have made me feel differently about the character than I would have had I just read the book.
I will say that if you can't sleep very well, listening to this on audio (and maybe this is true of most audio books) does help you get a little shut eye.
Going to see the author in a couple of weeks; if she says something that changes my mind, I'll revise this review and possibly the one on "Luncheon of the Boating Party". So far, I'm not very impressed with any of her books but she is obviously into art and I'm not so much.
It must have been a lot of work because she touches on most of the historical data of the Gilded Age and I would have loved to have known more. Women were treated very unfairly at the time and Clara did her best (even if a bit bossily) to take care of the women that worked for her. It was a bit over the top about how the women did so much more than the men but didn't get credit for it (hmm, think a lot of that is still with us today but obviously not as much). I don't think Mr. Tiffany was probably as nice as she tries to portray him here but would have to read more to know that for sure. She seems to like him and defend him but at the same time, there is an awful lot of the woman behind the man stuff.
In the interest of truth, I did not read the book. I was down over two weeks with a terrible case of acute bronchitis and I listened to it on CD with earbuds (would have supplemented with the book but didn't want to buy it). I do not feel that I get the full measure of a book when I listen to it rather than read it but in this case, it was all I felt like doing. Since I couldn't sleep for a week, I spent a lot of time sitting up listening to it and dozing off and then having to go back and start again. Because of this, I heard Clara's voice through the reader which may have made me feel differently about the character than I would have had I just read the book.
I will say that if you can't sleep very well, listening to this on audio (and maybe this is true of most audio books) does help you get a little shut eye.
Going to see the author in a couple of weeks; if she says something that changes my mind, I'll revise this review and possibly the one on "Luncheon of the Boating Party". So far, I'm not very impressed with any of her books but she is obviously into art and I'm not so much.
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