What drew me at first to the life of Faun Roberts was her humility. Though she traveled through some of the most exclusive artistic and literary circles of the day she never traded upon her connections. Her circle (network) evolved and grew as naturally as barnyard grass and though her friends (contacts) were a pretty classy bunch she never used them to promote her paintings (visual assets) among influential collectors (business-to-business market penetration).
She met Breton through her friend Proust, got to know Appollinare through Max Jacob and befriended Alice B. Toklas through their mutual acquaintance Sarah Bernhardt (like).
It was the time of gazettes, pamphlets and manifestos (aggregation) and one could conceivably present oneself (social media) as being aggressively avant-garde (emotional branding). Instead she quietly pursued her work and developed her ideas (content) while others were busy building their images around frolic and public dissipation (top-of-mind awareness).
She died before she found professional redemption (went viral) and it remains a mystery why her reputation was so thoroughly eclipsed.
Could it be that someone important had stabbed her in the back?
(Could it be that someone important had stabbed her in the back?)
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| Gentle Atthis, oil on linen, Faun Roberts, 1922 |
Could it be that someone important had stabbed her in the back?
(Could it be that someone important had stabbed her in the back?)
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