DOI Heft:
Nr. 161 (July, 1910)
DOI Artikel:Dixon, Marion Hepworth: Lady Alma-Tadema's pictures
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19867#0079
Lady A'Ima-Tadema's Pictures
fulness and richness, an extraordinary sense of the feet and began to paint her two little step-
sumptuous colour of life, seemed to come to the daughters, Laurence and Anna. These ladies
tender lady who was about to quit it. That exqui- figure in so many of Lady Alma-Tadema's initial
site little picture called The Dance, with the slim attempts that the mention of their identity is
pink-robed lady bowing to her cavalier as she waves perhaps a pardonable indiscretion. In Grannie's
aloft a scarlet feather, might in its pure joyous- ATeedle, however, we detect a fresh model, and one
ness have emanated from Watteau. Not that Lady who seems to have proved so satisfactory that she
Alma-Tadema was at any time influenced by the appears to have posed for the quaint little lady
French school. Married when little more than a in the work called, Put in the Corner, and other
girl to a famous painter of Dutch birth, it was themes. Another comparatively early composition
peihaps natural that she should have turned to is that entitled Grace, where a Dutch mother and
the Low Countries for her inspiration. Yet her child, the former bending over a table spread with
manual dexterity was clearly learnt at home. It white napery and silver, calls down a blessing on
was in the Regent's Park, at Townsend House, the mid-day meal.
under the loving eye of a master famed for his These tentative works are by no means without
draughtsmanship, that the beginner first found her their interest to the student. In them we see
a beginner's anxious
endeavours to gain com-
mand of her tools. The
pattern of the picture is
carefully considered.
The drawing is minute
and painstaking. But
the handling, a fault
found in nearly all con-
scientious young stu-
dents, is seen to be tight
and formal. But little
by little, we perceive the
real artist emerging from
her novitiate. The small
moonlight sketch of the
old Coliseum in Regent's
Park has already a hint
of the breadth to come
in her later painting.
In the recent exhibi-
tion at the Fine Art
Society's Rooms in
New Bond Strett few
things were more interest-
ing to Lady Tadema'o
admirers than the
sketches there seen for
the first time. Almost
exclusively painted in
oil, they not only showed
the artist at work grap-
pling with things at first
hand, and face to face
with nature, but marked,
in a significant way, the
progress in each succeed-
THE NEW HOOK" BY LAURA T. ALMA-TADEMA f 5
(By ?c,missio» of Messrs. Tooth, owners of the Copyright) ing essay. The lady's life,
55
fulness and richness, an extraordinary sense of the feet and began to paint her two little step-
sumptuous colour of life, seemed to come to the daughters, Laurence and Anna. These ladies
tender lady who was about to quit it. That exqui- figure in so many of Lady Alma-Tadema's initial
site little picture called The Dance, with the slim attempts that the mention of their identity is
pink-robed lady bowing to her cavalier as she waves perhaps a pardonable indiscretion. In Grannie's
aloft a scarlet feather, might in its pure joyous- ATeedle, however, we detect a fresh model, and one
ness have emanated from Watteau. Not that Lady who seems to have proved so satisfactory that she
Alma-Tadema was at any time influenced by the appears to have posed for the quaint little lady
French school. Married when little more than a in the work called, Put in the Corner, and other
girl to a famous painter of Dutch birth, it was themes. Another comparatively early composition
peihaps natural that she should have turned to is that entitled Grace, where a Dutch mother and
the Low Countries for her inspiration. Yet her child, the former bending over a table spread with
manual dexterity was clearly learnt at home. It white napery and silver, calls down a blessing on
was in the Regent's Park, at Townsend House, the mid-day meal.
under the loving eye of a master famed for his These tentative works are by no means without
draughtsmanship, that the beginner first found her their interest to the student. In them we see
a beginner's anxious
endeavours to gain com-
mand of her tools. The
pattern of the picture is
carefully considered.
The drawing is minute
and painstaking. But
the handling, a fault
found in nearly all con-
scientious young stu-
dents, is seen to be tight
and formal. But little
by little, we perceive the
real artist emerging from
her novitiate. The small
moonlight sketch of the
old Coliseum in Regent's
Park has already a hint
of the breadth to come
in her later painting.
In the recent exhibi-
tion at the Fine Art
Society's Rooms in
New Bond Strett few
things were more interest-
ing to Lady Tadema'o
admirers than the
sketches there seen for
the first time. Almost
exclusively painted in
oil, they not only showed
the artist at work grap-
pling with things at first
hand, and face to face
with nature, but marked,
in a significant way, the
progress in each succeed-
THE NEW HOOK" BY LAURA T. ALMA-TADEMA f 5
(By ?c,missio» of Messrs. Tooth, owners of the Copyright) ing essay. The lady's life,
55