Muse and Writer
Known for "her elusive combination of childlike innocence and soigné charm" and described as "tall and slender, with Venetian red hair", Olga de Meyer was muse and model to many artists, among them Jacques-Émile Blanche, James McNeill Whistler, James Jebusa Shannon, Giovanni Boldini, Walter Sickert, John Singer Sargent, and Paul César Helleu. Another of her artist admirers was Charles Conder, who was infatuated by Olga Caracciolo and painted her portrait; Aubrey Beardsley was part of her youthful circle as well. Olga de Meyer also inspired characters in novels by Elinor Glyn and Ada Leverson.
Of Olga's beauty, British novelist George Moore was unimpressed. As he commented to an admiring artist friend, "By Jove, you're all after the girl, a fine Mélisande for the stage, with her beautiful hair down to her heels. She's paintable, I admit, but as to one's daily use, I should rather have the mother than the child. Too slender for me ... you know my tastes."
She worked briefly as a society columnist for La Galoise, a Paris newspaper, in the 1890s. As Mahrah de Meyer, a name she adopted in 1916, she wrote one novel, the aubiographical Nadine Narska (Wilmarth Publishing, 1916). The New York Times condemned the novel as "morbid, exaggerated, ... guilty of many carelessly written sentences", while The Dial called de Meyer's book "a miscellaneous mixture of paganism, diluted Nietzsche, worldly morals, and the doctrine of reincarnation".
One of de Meyer's short stories, Clothes and Treachery, was made into The Devil's Pass Key, a 1919 silent movie by director Erich von Stroheim.
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Famous quotes containing the words muse and/or writer:
“Thus, with child to speak, and helpless in my throes,
Biting my truant pen, beating myself for spite:
Fool! said my muse to me, look in thy heart, and write.”
—Sir Philip Sidney (1554–1586)
“To write well, to have style ... is to paint. The master faculty of style is therefore the visual memory. If a writer does not see what he describes—countrysides and figures, movements and gestures—how could he have a style, that is originality?”
—Rémy De Gourmont (1858–1915)