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#0080
Lady AIma- Tademds Pictures
in truth, may be called a long studentship. The notable canvases to which I should like to call
White Cloud, Hampsiead in the Snoiv, Washing attention did space permit, such as The Bird Cage,
Day at Mentone, A Summer Meadow, Wke?-e Love at the Mirror, The First Born, The Poet's
France meets Italy, Scotch Rai?i, and The Bonfire, Flower, Queen Katherine, and the sombre canvas
all testify to gradually attained powers, to mastery (the only one I remember painted by Lady Alma-
over the painter's insuperable difficulties. Tadema) called The Pain of Parting.
Of the more subtle qualities of the artist's work, It will naturally be surmised that work so rare
the purity of her colour, the spontaneity of her in quality and the product of an English lady has
conceptions, and the exquisite, yet indescribable, found a place in our National Gallery of British
sense of mystery suggested by her interiors, all Art, but such is not only not the case but can
the later work bears evidence. Bright be thy hardly be so now, for the greater part of it has
Aroon, a picture kindly lent for illustration in The either passed over the water to the United States
Studio, is thus a characteristic one. In sump- or to Germany, where it has met with a greater
tuous seventeenth-century surroundings, a dainty appreciation than in the country of her birth,
mother, catching her child in a fine rapture in What is owned here is thought too highly of by
her arms, holds it aloft as she mentally its possessors to be lightly parted with,
envisages its happy future. Love's
Beginning, a picture bought by
the German Emperor, depicts
an essentially different kind of
love, and an altogether different
dream. A youth, grown to man's
estate, is here delineated gazing at
a fair seamstress, who, arrested by
the ardour and entreaty of his
bearing, momentarily suspends her
work as she trembles in a sweet
confusion. The New Book, on the
other hand, is a simple study in
light and atmosphere; for the
single figure of the lady bending
over her tome is happily sil-
houetted against an open case-
ment. The subject somewhat
laconically called A Looking out o'
Windoiv illustrates an analogous
theme, but one always attractive
to the artist. Early Discipline,
again, is a subject fraught with
infinite charm, for who, except
Lady Alma-Tadema, could do
justice to this coy, wayward, irre-
sistible mood of childhood ? It
is with the same joy in delineat-
ing joyousness that the artist set
about such pictorial problems as
she gave herself in the essays,
Soon Ready, Battledore and
Shuttlecock, Airs and Graces,
Hobgoblin Stories, and Peace
Making. Airs and Graces illus-
trates her peculiar gift—the gift of
being able to portray arrested
"A LOOKING OUT O WINDOW" BY LAURA T. ALMA-TADEMA
action. inere are many other {Ownedby G. W. Fowler, Esq.—Messrs. Tooth's Copyright)
56
in truth, may be called a long studentship. The notable canvases to which I should like to call
White Cloud, Hampsiead in the Snoiv, Washing attention did space permit, such as The Bird Cage,
Day at Mentone, A Summer Meadow, Wke?-e Love at the Mirror, The First Born, The Poet's
France meets Italy, Scotch Rai?i, and The Bonfire, Flower, Queen Katherine, and the sombre canvas
all testify to gradually attained powers, to mastery (the only one I remember painted by Lady Alma-
over the painter's insuperable difficulties. Tadema) called The Pain of Parting.
Of the more subtle qualities of the artist's work, It will naturally be surmised that work so rare
the purity of her colour, the spontaneity of her in quality and the product of an English lady has
conceptions, and the exquisite, yet indescribable, found a place in our National Gallery of British
sense of mystery suggested by her interiors, all Art, but such is not only not the case but can
the later work bears evidence. Bright be thy hardly be so now, for the greater part of it has
Aroon, a picture kindly lent for illustration in The either passed over the water to the United States
Studio, is thus a characteristic one. In sump- or to Germany, where it has met with a greater
tuous seventeenth-century surroundings, a dainty appreciation than in the country of her birth,
mother, catching her child in a fine rapture in What is owned here is thought too highly of by
her arms, holds it aloft as she mentally its possessors to be lightly parted with,
envisages its happy future. Love's
Beginning, a picture bought by
the German Emperor, depicts
an essentially different kind of
love, and an altogether different
dream. A youth, grown to man's
estate, is here delineated gazing at
a fair seamstress, who, arrested by
the ardour and entreaty of his
bearing, momentarily suspends her
work as she trembles in a sweet
confusion. The New Book, on the
other hand, is a simple study in
light and atmosphere; for the
single figure of the lady bending
over her tome is happily sil-
houetted against an open case-
ment. The subject somewhat
laconically called A Looking out o'
Windoiv illustrates an analogous
theme, but one always attractive
to the artist. Early Discipline,
again, is a subject fraught with
infinite charm, for who, except
Lady Alma-Tadema, could do
justice to this coy, wayward, irre-
sistible mood of childhood ? It
is with the same joy in delineat-
ing joyousness that the artist set
about such pictorial problems as
she gave herself in the essays,
Soon Ready, Battledore and
Shuttlecock, Airs and Graces,
Hobgoblin Stories, and Peace
Making. Airs and Graces illus-
trates her peculiar gift—the gift of
being able to portray arrested
"A LOOKING OUT O WINDOW" BY LAURA T. ALMA-TADEMA
action. inere are many other {Ownedby G. W. Fowler, Esq.—Messrs. Tooth's Copyright)
56