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[subjectiveperspectives]

Born in 1888 in New York City, Sharon Jensen née Davis, was the youngest daughter of an upper middle class artist family, her father, Laurie, a prolific orchestra musician (viola), her mother, Violet, a semi-famous opera singer and her two older brothers, Terry and Oliver, each playing an instrument as well (viola and piano). Sharon was born as the runt of the litter, seven years after her youngest big brother, and as such evidently had to take an interest in art rather than music, although she does play some piano. Her father especially supported her in her pursuit of painting and paid various tutors to teach her and improve her technique, once it was discovered that she had talent.

This was how she met her future husband, Sylvester, a Danish student of the famous naturalist painter, Charles Farwell, who tried to earn money for tuition fees by taking in students himself. They fell in love during their one and a half year long acquaintance and with some persuasion, Sharon’s family finally decided to give their blessing to let their only daughter travel with the Dane back to his home country and get married there. This was when Sharon was 21. Sylvester was 31.

Fast forward past meeting his very wealthy merchant family, past the wedding proper, past settling in a luxurious apartment in Copenhagen, Sharon has now lived in Denmark for three years. While Sylvester has moved on to become a prolific expressionist painter, the first representative of the style in the country, her own work has sunk into oblivion. Denmark is backwards and traditionalist and no one in the circles she now frequents sees a woman painter as anything but a hobbyist, although in New York Sharon had both following and sponsors.

To make a name for herself in some way, she has begun painting portraits of the ladies from the upper-class of Copenhagen, the women finding much amusement in seeing their own faces distorted by the expressionist eye. That, at least, gives her work and a small, independent income, but still no recognition. It is also a way for Sharon to practice her Danish which she still struggles with.

One day, the admiral of the fleet, Hugo Kristensen, approaches her at a ball to ask whether she would be interested in painting a portrait of his youngest daughter, Vera, 19. She has for a year refused to see suitors and to even discuss engagement, but now he is going to put more pressure on her to start considering her future. The portrait is meant to be given to the man they hope she will marry as an engagement gift, when it gets that far. For the sake of the money, Sharon accepts the job.

What she finds out is that Vera is a rebellious spirit who wants to be an architect like her older brother and has plenty of talent for it, but because she sometimes runs off from her home, dressed in boy’s clothing to visit the Copenhagen underground, her parents are trying to restrict her access to anything that isn’t traditionally feminine and in line with the expectations of a normal woman. Including all talk of her working a man’s profession.

The two bond over their shared experience as women in a patriarchal society and as the portrait progresses, they fall in love with each other.

Sharon has to decide whether she wants to pursue the relationship or not. Whether it’s worth everything she would lose, if she does.