DOI Heft:
No. 130 (December, 1907)
DOI Artikel:Oldford, T.: The paintings and pastels of Isobelle Dods-Withers
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28253#0132
Isobelle Dods- Withers
picturesque of which the art of Mrs. Dods-Withers
may be taken as a specimen. We cannot think of
another artist who has dwelt with so much affection
upon the subject of lonely and impressive build-
ings, unless we recall those terribly lonely-looking
chateaux which Victor Hugo used to draw with his
pen in the moments when that vivid pen was not
writing. It is so easy to be theatrical and so very
difficult to lift the few sweeping main lines which
give the grandeur of these scenes into the border-
lines of a canvas in a manner that is beautiful and
impressive; this Mrs. Dods-Withers succeeds in
doing, for one of her gifts is the selection of the
point of view which can
give her the most impres-
sive aspect of her subject.
Art of the pompous kind is
always marching through
our exhibitions, but the
light of “ the true romance ”
is only glinting here and
there.
The charm of Mrs.
Dods-Withers’ work is that
it seems inspired by the
historic associations of
those places she depicts.
Nearly all her canvases
are left empty of figures,
that we may people them
from our own thoughts.
She prompts our imagina-
tion with her manner of
presenting her subject:
heavy white clouds em-
battling the sky above the
hauteur of a castle wall
which has remained to an
age that has forgotten
how to fashion such archi-
tecture. It was when the
armed knights came out
of the gates of these places
for the last time that
Romance entered in and
made her dwelling. Of
stirring mediaeval times
there is a whisper in the
trees which stand as sen-
tinels, whilst the many
houses for the tourist
advance to the foot of
the hills, where these
ancient houses stilll
116
parade forlornly and reproachfully their ancient
beauty.
If thus lightly we have sketched her motives, it
is because they are so completely revealed in her
craft, and the craftsmanship of a true artist is
always so personal a matter that it is not to be
analysed. Craftsmanship which is not subordinated
to subject, but which goes through its tricks prettily
without losing itself in some personal aim, is not
to be very highly considered. The technique of
Mrs. Dods-Withers is unaggressive, it loses itself in
the subject — but though her art is often very
dreamy, it is never unreal. Truth of shape in the
“ LE CHATEAU DE NEMOURS”
BV ISOBELLE A. DODS-WITHERS
picturesque of which the art of Mrs. Dods-Withers
may be taken as a specimen. We cannot think of
another artist who has dwelt with so much affection
upon the subject of lonely and impressive build-
ings, unless we recall those terribly lonely-looking
chateaux which Victor Hugo used to draw with his
pen in the moments when that vivid pen was not
writing. It is so easy to be theatrical and so very
difficult to lift the few sweeping main lines which
give the grandeur of these scenes into the border-
lines of a canvas in a manner that is beautiful and
impressive; this Mrs. Dods-Withers succeeds in
doing, for one of her gifts is the selection of the
point of view which can
give her the most impres-
sive aspect of her subject.
Art of the pompous kind is
always marching through
our exhibitions, but the
light of “ the true romance ”
is only glinting here and
there.
The charm of Mrs.
Dods-Withers’ work is that
it seems inspired by the
historic associations of
those places she depicts.
Nearly all her canvases
are left empty of figures,
that we may people them
from our own thoughts.
She prompts our imagina-
tion with her manner of
presenting her subject:
heavy white clouds em-
battling the sky above the
hauteur of a castle wall
which has remained to an
age that has forgotten
how to fashion such archi-
tecture. It was when the
armed knights came out
of the gates of these places
for the last time that
Romance entered in and
made her dwelling. Of
stirring mediaeval times
there is a whisper in the
trees which stand as sen-
tinels, whilst the many
houses for the tourist
advance to the foot of
the hills, where these
ancient houses stilll
116
parade forlornly and reproachfully their ancient
beauty.
If thus lightly we have sketched her motives, it
is because they are so completely revealed in her
craft, and the craftsmanship of a true artist is
always so personal a matter that it is not to be
analysed. Craftsmanship which is not subordinated
to subject, but which goes through its tricks prettily
without losing itself in some personal aim, is not
to be very highly considered. The technique of
Mrs. Dods-Withers is unaggressive, it loses itself in
the subject — but though her art is often very
dreamy, it is never unreal. Truth of shape in the
“ LE CHATEAU DE NEMOURS”
BV ISOBELLE A. DODS-WITHERS