Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/493

374 Here began the intimate study of the heath which so largely influenced the best pictures by Frau Bilders. In the garden of the picturesque house in which the two artists lived was an old barn, which became her studio, where, early and late, in all sorts of weather, she devotedly observed the effects later pictured on her canvases. At this time she executed one of her best works, now in the collection of the Prince Regent of Brunswick. It is thus described by a Dutch writer in Rooses’ "Dutch Painters of the Nineteenth Century " :

"It represents a deep pool, overshadowed by old gnarled willows in their autumnal foliage, their silvery trunks bending over, as if to see themselves in the clear, still water. On the edge of the pool are flowers and variegated grasses, the latter looking as if they wished to crowd out the former—as if they were in the right and the flowers in the wrong; as if such bright-hued creatures had no business to eclipse their more sombre tones; as if they and they alone were suited to this silent, forsaken spot."

Johannes Bilders was fully twenty-five years older than his wife, and the failure of both his physical and mental powers in his last days required her absolute devotion to him. In spite of this, the garden studio was not wholly forsaken, and nearly every day she accomplished something there. After her husband's death she had a long illness. On her recovery she returned to The Hague and took the studio which had been that of the artist Mauve.

The life of the town was wearisome to her, but she