Her character is more of a vehicle to tell the true story of how Tiffany’s masterpieces were created.

I admired Clara’s independence in a difficult era for women, but felt I really didn’t get to know her. But characterizations take something of a back seat to the history. Glass selection techniques, boarding house etiquette, Bohemianism, the struggle between art and commerce, and bicycling as a feminist statement are just some of the details Vreeland brings to life. Accepting would mean having to quit Tiffany’s.Īrt lovers, cultural historians, and feminists will be drawn in by Vreeland’s world-creation. She labors for years in obscurity because the artistic part of the job satisfies her, but then Clara receives an offer of marriage. Clara also battles rancor from the male employees, who claim that women take work away from them. She develops an almost love-hate relationship with Tiffany, resentful that he doesn’t give her credit for her creations, yet experiencing jealousy when he discusses art and design with other employees besides herself. She struggles with Tiffany’s business managers, who want her department to sacrifice art in order to cut expenses.

Newly-widowed Clara asks for her old job back, and Tiffany puts her in charge of the women’s department. Tiffany employed women in his studio, though only unmarried ones, because he believed that they were more color-sensitive than men. Vreeland uses this discovery to create a fascinating portrait of the New York art world at the turn of the 20th century. This book was inspired by the recent revelation that employee Clara Driscoll was responsible for the design and creation of many of the spectacular windows and lamps once attributed to Louis Comfort Tiffany.

Angie by Clara Ann Simons