By Deborah Shepard
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Additional info for Between the Lives: Partners in Art
1978), photograph. toss woollaston archive, museum of new zealand te papa tongarewa Edith Woollaston died in 1987, aged eighty-two. Even in the last months of her life, when her health was failing, her chief concern was for Toss and his wellbeing. This was entirely typical: what mattered most in her life would always be her husband and his work. In this respect, the Woollastons’ creative partnership was one-sided. But Edith was also a woman with a ‘passionate sense of privacy’,39 and we should not underestimate the pleasures of a private art for such a person, an art shared with family and friends.
Eschewing the conventional notion of the painting as a ‘window on the world’, Cézanne was exploring fictive rather than real space. Poppies also reveals Anne’s understanding of the way Post-Impressionists like Vincent van Gogh had been influenced by Japanese woodcut prints. As in a ukiyo-e print, forms have been arranged asymmetrically, and brought uncomfortably close to the picture plane. In another still life, Auriculas (1941),10 Anne once again experimented successfully with asymmetrical elements and a tilted picture plane.
27 Much could be made of the image of the male artist cutting up his wife’s work, and Toss did tend to regard Edith as a hobbyist rather than a serious painter. But within these limits he was not unsympathetic to her work. Z. Rota), which you must see some time. We’ve just spent an hour . . going through things stored and finding Edith’s drawings, which I now like more than ever before. 28 He took pride in telling London friends that his wife’s sketches were at least as good. Edith was a person of modest ambition; she was never ‘preoccupied with exclusive theories’.