Barbara Mujica, author of the acclaimed historical novels
frida and
Sister Teresa turns
her eye to 17
th-century Spain and the court of King Phillip IV in
her latest book,
I Am Venus,
published earlier this month by Overlook. Chronicling the scandalous affair
between the great Baroque Spanish painter Diego Velázquez and the young model
who became his Venus, Barbara Mujica vividly reimagines the great artist’s rise
to prominence, set against a backdrop of political turmoil and romantic
scandal. Narrated by the mysterious model who posed for Velázquez’s only female
nude, “The Rokeby of Venus,”
I Am Venus is
a seductive historical novel of the forbidden love between an artist and his
muse. Barbara Mujica joins us today on the Winged Elephant to
discuss the research and inspiration behind her latest novel. Welcome, Barbara!
OP: How would you describe your novel? Is it a book for
fans of historical novels, or fans of Velazquez and Spanish history. Who will
it most appeal to?
BM: I Am
Venus is aimed at the general reader. Fans of historical fiction
will find plenty historical atmosphere. I did a lot of research on food,
clothing, homes, leisure activities, and other aspects of 17th-century
life, but the novel doesn’t presuppose a particular interest in the Spanish
Golden Age. Similarly, fans of Velázquez will find lots of information about
his training and artistic development, his use of color and form, and his
relationship with mentors. However, you don’t need to be a Velázquez fan or an
expert in Spanish history to enjoy this book. The story is rich and entertaining
because Velázquez and his contemporaries were fascinating people living at a
fascinating time.
OP: As in your previous novel, frida, you show an
uncanny ability to portray the life of an artist – both inside and outside the
studio. What experience do you have with the lives of artists?
BM: I have always been enthralled by artists. My
husband is an architect with extensive training in art and art history, so I
have spent much of my adult life hearing about artists and visiting museums.
Furthermore, I work in a period—the late Renaissance—when painting and
sculpture were flourishing in Europe, and so art history is part of my
intellectual background.
OP: What inspired you to use The Rokeby Venus, among many
other of Velasquez’s masterworks?
BM: First of all, Venus is an enigma. We don’t know
the circumstances under which this painting was produced, so I was really able
to let my imagination run wild. Second, this painting was created during a time
of religious repression when nudes were forbidden, and the Inquisition
persecuted painters who produced them. The fact that Velázquez painted the
Rokeby Venus and got away with it makes for a very enticing plot.
OP: Has the historical identity of the model for The
Rokeby Venus ever been established? Can you talk a bit about your creation of
her for the novel.
BM: The real identity of the model is explained at the
end of the book, so I think I won’t spoil the fun. I will say that due to the
way the painting was composed, there has been a lot of conjecture about it,
which leaves the writer a lot of leeway.
OP: Velazquez’s wife, Juana, is a fascinating character
in the story. How much of her is imagined, or based on historical research?
BM: Her identity is historical. She was the daughter
of Velázquez’s painting master, Francisco Pacheco, and the mother-in-law of his
apprentice, Mazo. However, we know very little about her life. I have done a
lot of research on 17th-century Spanish women and, in fact, much of
my scholarly writing is on that subject. From my readings of women’s letters,
stories by 17th-century women authors, treatises on women by
moralists of the period, and historical studies on women, I constructed a
feisty, down-to-earth character who, like some of the real women I’ve studied,
bucks the cultural norms of the period. Both she and Velázquez are deeply human
characters, flawed, emotive, and capable of both wonderful and reprehensible
deeds.
OP: I Am
Venus contains many parallels between 17th century Spain
and the modern world – political unrest, economic crisis, ongoing wars, scandal
and hypocrisy, religious fanaticism. Do you think readers will see and
understand these connections, and was it something you were aware of before
writing the novel?
BM: I have taught 17th-century Spain at
Georgetown University for many years, and I’ve always been struck by how much
that period resembles our own. Spain was deeply in dept, yet continued to
spend, borrowing money from foreign creditors. It was engaged in multiple wars
that drained the economy. Taxes and unemployment were high. Veterans who
returned from the Thirty Years War were unable to find jobs and sometimes
didn’t get their pensions. Politicians and priests preached morality, yet
engaged in lechery. Mores were changing. I don’t think readers can help but
make connections. I think there are lessons to be learned from I Am Venus. In
a sense, it could be seen as a cautionary tale.
