98 Quotes by Susan Vreeland

The Tiffany lamp is an American icon bridging the immigrants, settlement houses, and the slums of the Lower East Side and the wealthy industrialists of upper Manhattan, the Gilded Age and its excesses.

Readers would email me and say, 'Please write a novel about so-and-so,' but it has to come from yourself and not so much from your readership.

After one hundred days of confinement following a bone marrow transplant, I rejoiced in taking short walks to a nearby park as I was writing 'Girl in Hyacinth Blue.' The uncertainty of my survival made every blade of grass gorgeous in its green intensity, lifting itself up, doing its part to make the world beautiful.

Coming out of the Louvre for the first time in 1971, dizzy with new love, I stood on Pont Neuf and made a pledge to myself that the art of this newly discovered world in the Old World would be my life companion.

Archival and published history does not always record personal relationships of historical figures, so characters must be invented to allow the subject to reveal their interior realm through intimate interaction.

Art history looks at art works and the people who have created them.

As New York careens toward the modernity of the twentieth century when Gibson girls were transforming themselves into working women, Clara Driscoll enters the male field of stained glass artistry and builds a lively, multi-national, multi-class women's department within Tiffany Studios.

It was only after I began to write fiction that I found a way to connect with painting.

For a century, everyone assumed that the iconic Tiffany lamps were conceived and designed by that American master of stained glass. Not so! It was a woman!