Portrait of the Artist's Daughter, Lady Diana Cooper
Portrait of the Artist's Daughter, Lady Diana Cooper
3050
Portrait of the Artist's Daughter, Lady Diana Cooper Inscribed lower left: "Off to Philadelphia"/in train Feb, 1924Pencil on laid paper11.1 by 8.8 cm., 4 ¼ by 3 ½ in.Marion Margaret Violet Lindsay, granddaughter of 24th Earl of Crawford, was widely regarded as one of the most striking beauties of her day. In 1882, she married Henry Manners, who became Marquess of Granby, before succeeding as 8th Duke of Rutland in 1906. She and her husband however, moved in very different circles: he was politically conservative, aesthetically disinterested and interested in country pursuits, especially hunting. Violet, on the other hand was bohemian, intellectual and determined to be taken seriously as an artist. She became a leading member of The Souls, a loosely knit social group of intellectual aristocrats which formed in the 1870s. The group were known for their shared avant-garde artistic taste and cultural sophistication. Other members included Arthur Balfour, George Curzon, Alfred Lyttelton, Margot Asquith and Henry Cust (reputedly the father of her third daughter, Diana). A talented draughtswoman and sculptor, Violet was largely self-taught and encouraged by her family in her passion. She exhibited at the Royal Academy, Grosvenor Gallery and Fine Art Society as well as in France and America. She continued to work and exhibit until a month before her death in November 1937.The present portrait is of her youngest daughter, Lady Diana Manners. Another great wit and beauty, Diana was one of the most painted and photographed women of her day. In 1919 she married the diplomat, Duff Cooper (later Viscount Norwich) and partly in order to finance her husband's political career she turned to the stage. The present work depicts Lady Diana Cooper on a train to Philadelphia during her 1924 North American revival of Karl Vollmoller's, The Miracle. The play performed entirely without words was originally produced by C.B. Cochran at Olympia, London in 1911, with Diana taking the role of the Madonna. It was revived in New York in 1924 and again at the Lyceum Theatre in 1932 with costumes by Oliver Messel. The revival was extremely successful and toured for two years in Britain and abroad.){kind=link}
Violet Manners, Duchess of Rutland (1856-1937)
Portrait of the Artist's Daughter, Lady Diana Cooper
Inscribed lower left: "Off to Philadelphia"/in train Feb, 1924
Pencil on laid paper
11.1 by 8.8 cm., 4 ¼ by 3 ½ in.
Marion Margaret Violet Lindsay, granddaughter of 24th Earl of Crawford, was widely regarded as one of the most striking beauties of her day. In 1882, she married Henry Manners, who became Marquess of Granby, before succeeding as 8th Duke of Rutland in 1906. She and her husband however, moved in very different circles: he was politically conservative, aesthetically disinterested and interested in country pursuits, especially hunting. Violet, on the other hand was bohemian, intellectual and determined to be taken seriously as an artist. She became a leading member of The Souls, a loosely knit social group of intellectual aristocrats which formed in the 1870s. The group were known for their shared avant-garde artistic taste and cultural sophistication. Other members included Arthur Balfour, George Curzon, Alfred Lyttelton, Margot Asquith and Henry Cust (reputedly the father of her third daughter, Diana).
A talented draughtswoman and sculptor, Violet was largely self-taught and encouraged by her family in her passion. She exhibited at the Royal Academy, Grosvenor Gallery and Fine Art Society as well as in France and America. She continued to work and exhibit until a month before her death in November 1937.
The present portrait is of her youngest daughter, Lady Diana Manners. Another great wit and beauty, Diana was one of the most painted and photographed women of her day. In 1919 she married the diplomat, Duff Cooper (later Viscount Norwich) and partly in order to finance her husband's political career she turned to the stage. The present work depicts Lady Diana Cooper on a train to Philadelphia during her 1924 North American revival of Karl Vollmoller's, The Miracle. The play performed entirely without words was originally produced by C.B. Cochran at Olympia, London in 1911, with Diana taking the role of the Madonna. It was revived in New York in 1924 and again at the Lyceum Theatre in 1932 with costumes by Oliver Messel. The revival was extremely successful and toured for two years in Britain and abroad.