DOI Heft:
No. 176 (November, 1907)
DOI Artikel:Oldford, T: The paintings and pastels of Isobelle Dods-Withers
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20776#0142
I sob elk Dods-Withers
picturesque of which the art of Mrs. Dods-Withers parade forlornly and reproachfully their ancient
may be taken as a specimen. We cannot think of beauty.
another artist who has dwelt with so much affection If thus lightly we have sketched her motives, it
upon the subject of lonely and impressive build- is because they are so completely revealed in her
ings, unless we recall those terribly lonely-looking craft, and the craftsmanship of a true artist is
chateaux which Victor Hugo used to draw with his always so personal a matter that it is not to be
pen in the moments when that vivid pen was not analysed. Craftsmanship which is not subordinated
writing. It is so easy to be theatrical and so very to subject, but which goes through its tricks prettily
difficult to lift the few sweeping main lines which without losing itself in some personal aim, is not
give the grandeur of these scenes into the border- to be very highly considered. The technique of
lines of a canvas in a manner that is beautiful and Mrs. Dods-Withers is unaggressive, it loses itself in
impressive; this Mrs. Dods-Withers succeeds in the subject—but though her art is often very
doing, for one of her gifts is the selection of the dreamy, it is never unreal. Truth of shape in 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 still «le chateau de nemours" by isobelle a. dods-withers
116
picturesque of which the art of Mrs. Dods-Withers parade forlornly and reproachfully their ancient
may be taken as a specimen. We cannot think of beauty.
another artist who has dwelt with so much affection If thus lightly we have sketched her motives, it
upon the subject of lonely and impressive build- is because they are so completely revealed in her
ings, unless we recall those terribly lonely-looking craft, and the craftsmanship of a true artist is
chateaux which Victor Hugo used to draw with his always so personal a matter that it is not to be
pen in the moments when that vivid pen was not analysed. Craftsmanship which is not subordinated
writing. It is so easy to be theatrical and so very to subject, but which goes through its tricks prettily
difficult to lift the few sweeping main lines which without losing itself in some personal aim, is not
give the grandeur of these scenes into the border- to be very highly considered. The technique of
lines of a canvas in a manner that is beautiful and Mrs. Dods-Withers is unaggressive, it loses itself in
impressive; this Mrs. Dods-Withers succeeds in the subject—but though her art is often very
doing, for one of her gifts is the selection of the dreamy, it is never unreal. Truth of shape in 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 still «le chateau de nemours" by isobelle a. dods-withers
116