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Diana White (19 June 1868 – 21 January 1950) was a British artist and translator. She painted Impressionist-style landscapes and translated books authored in French and Danish into English. Her most sought-after work is the 1903 book The Descent of Ishtar, of which only 226 copies were printed.

Life

Diana White was born on 19 June 1868^[1] in Hackney, London, England. She was the daughter of Henry White and Anne Moate.

From around the age of 12 she attended Missender House Ladies School, on Dover Street in Ryde, Isle of Wight^[2] within a short walking distance from the Ryde School of Art. It is interesting to note that one of the teachers at the school, Marie Gervuex, was from Canton de Berne, Switzerland.^[2] She then moved back to London to live with her mother, who by then had been widowed, and to study art (c.1886–1891).^[3]

White, having never married, died on 21 January 1950. At that time she was living at Wotton Burwash Common, Sussex.^[4]

Career

Artist

White painted still lifes^[5] and Impressionist-style landscapes.^[6] She studied at the Crystal Palace School of Art^[7] under Archibald Macgregor.^[8] Macgregor, an artist and architect,^[9] was father of John Macgregor. White's fellow student was Esther Bensusan, who later married Lucien Pissarro. Macgregor particularly admired White's features and she often sat for him.^[9] She remained close friends with both Macgregor and Bensusan throughout her life.^[10]

While a student White was awarded a certificate for watercolour painting (1886),^[11] a certificate and the Scholarship in Art for 1889-90 for a model in plaster (1889),^[12] and a silver medal for 'head modelled from the life' (1890).'^[13]

The Pissarros: Esther, Lucien and Orovida

Her friendship with the Pissarros began with Esther while they were both students at the Crystal Palace School of Art. Esther met Lucien Pissarro on his first visit to London in 1883.^[14] Lucien returned to London in 1890^[15] and married Esther two years later.^[9] Through Esther, White also became a friend of Lucien, who was devoted to Impressionism.^[6]

In time, White became a trusted friend and mentor to Esther and Lucien's daughter, Orovida Pissarro. Over the years, White and Orovida exchanged hundreds of letters discussing art, theory, philosophy and literature.^[6] Although White was a follower of Lucien, she had her doubts about Impressionism. She wrote to Orovida:

Everyday I feel more certain that impressionism took a wrong turn in that it ignored that art is art and not nature...I would not, for the world depress your father by stating my convictions. - Diana White, c.1916^[6]

White advised Orovida to study Palaeothic cave drawings, Chinese paintings, Persian miniatures, and a wide range of other art, insisting on the supremacy of Chinese art and art theory. Orovida became an outlet for White's philosophical discourses on art as Orovida found herself freer than White to reject Impressionism.^[6] White and Orovida planned a joint exhibition but it never materialised.^[6] She wrote to Orovida:

We must have a two woman show next year and show 'The London Group' a thing or two. I should dearly like to give them a real reason for hating me, which up to now I think they have lacked, would it not be a heavenly lark!...Oh work hard, hard, hard and we'll make them sit up. – Diana White, 1914^[6]

Lucien had proposed that White be included in a group exhibition at the Carfax Gallery in 1914. When a student from Sickert was chosen in her place, Lucien threatened to withdraw, and the committee promptly admitted two of White's paintings.^[6] The Manchester Courier wrote that while the other exhibitors "illustrate various phases of Impressionism, Miss Diana White asserts her individuality with some clever drawings".^[16] It is possible that Lucien's reaction, to White's initial exclusion from the Carfax Gallery exhibition, could be explained, at least in part, by circumstances preceding the event. Walter Sickert had been associated with the Carfax Gallery from the start.^[17] At the time it was known for exhibiting work of the Camden Town Group, a group who declared itself a "male club" where women were not eligible. Both Lucien and Sickert were members. According to Charles Ginner, Sickert was one of two that introduced the ban of women members.^[18] In 1911, Esther requested that White be elected a member of the Camden Town Group but her request was denied.

I admire Miss White's work & I am sorry it has been rejected by the N.E.A.C. especially as there are a lot of bad pictures there.... It is difficult to make a woman a member off-hand especially as the time is so limited before the next exhibition...But I see no reason why the Group should not give Miss White a special invitation to exhibit without actually making her a member until the matter has been discussed at a meeting. - James Bolivar Manson, 1911^[19]

After Lucien died, Orovida returned to naturalism and to oil paints. On hearing of Orovida tackling a new line of art and her return to oils, White wrote to her, "Beloved OCP, what glorious news that you have taken to oils, how joyous, and how much I envy you."^[6]

Exhibitions

She exhibited frequently at the Goupil Gallery (1908 – 1922)^[20] and also exhibited at the:

Royal Albert Hall (1908)
Galleries of the Royal Society of British Artists (1909–1913)
Dore Gallery (1914)
Whitechapel Art Gallery (1914)^[5]
Carfax Gallery (1914)^[21]

At the first exhibition or "Salon" of the Allied Artists' Association held at the Royal Albert Hall in 1908, White showed five water colour drawings, seven pen and ink drawings, five chalk drawings, and two watercolour paintings; An Essex Cottage and A Road in Norfolk. Each exhibitor was limited to showing a total of five works. White "framed" her drawings into three groups of five or seven individual drawings. So, although she showed 19 individual drawings and paintings, these three groups and two paintings formed only five exhibits.^[22]

She also showed for three years in the Exhibition for Modern Pictures (New English Art Club, 1909-1913), the Post-Impressionist and Futurist Exhibition (Dore Gallery, 1914), and the Twentieth Century Art. A Review of Modern Movements (Whitechapel Art Gallery, 1914).^[5]

Translator

French to English

Her first and last translations were for books written in French: Tombouctou la Mystérieuse and Album de Poèmes tirés du Livre de Jade.

In Tombouctou la Mystérieuse, Felix Dubois wrote about his travels along The Niger, Jenne, Songhois, Sudan and to Timbuktu. He described the commerce, life, politics, literature and people of the places he visited.^[23]

Timbuctoo the Mysterious...An indescribably fascinating book of travel almost reflecting as much credit on the translator as on the author. It is being widely read. – The National Review, 1897.^[24]

Album de Poèmes tirés du Livre de Jade, translated into French from the original Chinese, by Judith Gautier was first published in 1911 by Eragny Press^[25] (see The Descent of Ishtar below). Gautier's book included a preface by White.^[26] White wrote her version in English, Preface to an Album of Poems from the Livre de Jade, which was reprinted privately (only 60 copies) for Orovida Pissarro in 1948.^[27]

The Descent of Ishtar

Because of its rarity, her most sought after book is The Descent of Ishtar, or Ishtar's descent to the nether world.^[28] Only 226 copies were printed.^[7] and was printed by Eragny Press which was established by Lucien Pissarro and his wife Esther (née Bensusan).^[15] White's book is a translation of the Seventh Tablet in the Deluge Series^[7] and is the story of Inanna-Ishtar's descent into the Underworld. White is attributed as the translator however she relied on others to translate the tablet and then "prepared [it] for the press".^[7]

Cuneform being a closed book to me, I wish to express my entire indebtedness for the present version of the legend to its various translators: Mr. George Smith, Professor Sayce, Professor Shrader, and MM. Joachim Menant, Julius Oppert, and Francois Lenormant – D[iana] W[hite], 1897^[29]

Translators had been working on the tablet for some years before White published her book in 1903. George Smith, for example, had relied on Fox Talbot's translation, as well as others, and first published his translation of it in 1872 in The Daily Telegraph.^[30] However, in writing and "preparing" her book it may be that some translation was required from French or German. The book's colophon states that the frontispiece was "designed by Diana White & engraved on the wood by Esther Pissarro. The double border and initial letters were designed by Lucien Pissarro and engraved by Esther Pissarro."^[31] The book is 30 pages of poetry and illustrations in Art Nouveau design. At the time it received mixed reviews:

On...'The Descent of Ishtar,' by Diana White, both the decoration (or undecoration) border and the woodcut seem to us failures, nor are we able to admire by any means all the specimen illustrations...modelled on that by Mr. Cockrell of Morris's. But the book tells an interesting story, and is worth buying by everyone who cares for modern experiments in printing.' – The Library, 1905^[32]

Collections

The Ashmolean Museum of Art and Archaeology

Books

French to English

Timbuctoo the Mysterious, by Felix Dubois. Translated by Diana white (1896)
Preface to an Album of Poems from the Livre de Jade, by Diana White (1948)

Danish to English

William Shakespeare: A Critical Study, by Georg Brandes – Third Book translated by Diana White with the assistance of Mary Morison (1898)
Main Currents in Nineteenth Century Literature – Vol 1. The Emigrant Literature, by Georg Brandes. Translated by Diana White and Mary Morison (1905)
Main Currents in Nineteenth Century Literature – Vol 2. The Romantic School in Germany, by Georg Brandes. Translated by Diana White and Mary Morison (1905)
Main Currents in Nineteenth Century Literature – Vol 3. The Reaction in France, by Georg Brandes. Translated by Diana White and Mary Morison (1905)
Main Currents in Nineteenth Century Literature – Vol 4. Naturalism in England, by Georg Brandes. Translated by Diana White and Mary Morison (1905)
Main Currents in Nineteenth Century Literature – Vol 5. The Romantic School in France, by Georg Brandes. Translated by Diana White and Mary Morison (1905)
Main Currents in Nineteenth Century Literature – Vol 6. Young Germany, by Georg Brandes. Translated by Diana White and Mary Morison (1905)

Various to English

The Descent of Ishtar, by Diana White (1903)

References

^ The National Archives; Kew, London, England; 1939 Register; Reference: RG 101/1935B.
^ ^a ^b 1881 England Census, ancestry.co.uk.
^ 1891 England Census, ancestry.co.uk.
^ England & Wales, National Probate Calendar (Index of Wills and Administrations), 1858-1966
^ ^a ^b ^c "Diana White". Database of Modern Exhibitions (DoME) | European Paintings and Drawings 1905-1915. Retrieved 11 March 2020.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Erickson, Kristen (1994). "The Art of Orovida: Looking beyond the Pissarro Family Legacy". Woman's Art Journal. 15 (2): 14–22. doi:10.2307/1358599. JSTOR 1358599.
^ ^a ^b ^c ^d "O that Ishtar might hear me". Princeton University, Graphic Arts Collection. 6 August 2014. Retrieved 9 March 2020.
^ The Morning Post, Wednesday, July 30.
^ ^a ^b ^c Reed, Nicholas (1997). Pissarro in West London: Kew, Chiswick and Richmond. Lilburne Press. ISBN 978-1-901167-02-3.
^ "Private Press & Artists' Books" (PDF). Kelmscott Bookshop Rare Books. Catalogue 14: 4.
^ Norwood News, CRYSTAL PALACE, 14 August 1886,
^ South London Press, 3 August 1889
^ Hackney and Kingsland Gazette, Crystal Palace Art. Scholarships, 30 July 1890.
^ Jenkins, David Fraser; Bonett, Helena (1 May 2012). Lucien Pissarro 1863–1944. Tate. ISBN 978-1-84976-385-1.
^ ^a ^b "THE ERAGNY PRESS". Christie's, Fine Printed Books and Literary Manuscripts. 10 December 1999. Retrieved 9 March 2020.
^ Manchester Courier and Lancashire General Advertiser, Our London Letter, 06 July 1914
^ Shaw, Samuel (1 May 2012). The Carfax Gallery and the Camden Town Group. Tate. ISBN 978-1-84976-385-1.
^ Moorby, Nicola (1 May 2012). Her Indoors: Women Artists and Depictions of the Domestic Interior. Tate. ISBN 978-1-84976-385-1.
^ Manson, James Bolivar (1 May 2012). Letter to Esther Pissarro. Tate. ISBN 978-1-84976-385-1.
^ "Modernist Journals | White, Diana (1868-1950)". modjourn.org. Retrieved 11 March 2020.
^ Westminster Gazette, 29 June 1914.
^ Allied Artists Association (Great Britain) (1908). The London Salon of the Allied Artists' Association, Ltd, 1908 : first year.
^ "Timbuctoo". www.goodreads.com. Retrieved 13 March 2020.
^ The National review. University of Illinois Urbana-Champaign. London : W.H. Allen. 1883.{{cite book}}: CS1 maint: others (link)
^ Bennett, Gerry. "A Rare Book" (PDF). Type High: 17 – via The Printing Museum.
^ Tate. "'Le Miroir', Lucien Pissarro, c.1911". Tate. Retrieved 13 March 2020.
^ "Recent Acquisitions & Others Catalogue" (PDF). Blackwell Rare Books: 60.
^ Pissarro, Lucien; White, Diana; Pissarro, Esther (1903). The descent of Ishtar. London : Eragny Press; New York : John Lane.
^ "THE DESCENT OF ISHTAR". The New Review, London. 16 (95): 405–412. April 1897.
^ Smith, George (2012). The Chaldean Account of Genesis. Lulu.com. ISBN 978-1-300-02564-1.
^ "Esther Pissarro: The Descent of Ishtar, by Diana White". Fifty Women: the Elizabeth Perkins Prothro Galleries, Bridewell Library at Perkins School of Theology. Retrieved 9 March 2020.
^ "REVIEWS AND NOTICES". The Library. s2-VI, Issue 24: 445. October 1905 – via Oxford Literature Journals.

External links

[1] The National Archives; Kew, London, England; 1939 Register; Reference: RG 101/1935B.

[:4-2] 1881 England Census, ancestry.co.uk.

[3] 1891 England Census, ancestry.co.uk.

[4] England & Wales, National Probate Calendar (Index of Wills and Administrations), 1858-1966

[:5-5] "Diana White". Database of Modern Exhibitions (DoME) | European Paintings and Drawings 1905-1915. Retrieved 11 March 2020.

[:1-6] ^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Erickson, Kristen (1994). "The Art of Orovida: Looking beyond the Pissarro Family Legacy". Woman's Art Journal. 15 (2): 14–22. doi:10.2307/1358599. JSTOR 1358599.

[:0-7] "O that Ishtar might hear me". Princeton University, Graphic Arts Collection. 6 August 2014. Retrieved 9 March 2020.

[8] The Morning Post, Wednesday, July 30.

[:2-9] Reed, Nicholas (1997). Pissarro in West London: Kew, Chiswick and Richmond. Lilburne Press. ISBN 978-1-901167-02-3.

[10] "Private Press & Artists' Books" (PDF). Kelmscott Bookshop Rare Books. Catalogue 14: 4.

[11] Norwood News, CRYSTAL PALACE, 14 August 1886,

[12] South London Press, 3 August 1889

[13] Hackney and Kingsland Gazette, Crystal Palace Art. Scholarships, 30 July 1890.

[14] Jenkins, David Fraser; Bonett, Helena (1 May 2012). Lucien Pissarro 1863–1944. Tate. ISBN 978-1-84976-385-1.

[:3-15] "THE ERAGNY PRESS". Christie's, Fine Printed Books and Literary Manuscripts. 10 December 1999. Retrieved 9 March 2020.

[16] Manchester Courier and Lancashire General Advertiser, Our London Letter, 06 July 1914

[17] Shaw, Samuel (1 May 2012). The Carfax Gallery and the Camden Town Group. Tate. ISBN 978-1-84976-385-1.

[18] Moorby, Nicola (1 May 2012). Her Indoors: Women Artists and Depictions of the Domestic Interior. Tate. ISBN 978-1-84976-385-1.

[19] Manson, James Bolivar (1 May 2012). Letter to Esther Pissarro. Tate. ISBN 978-1-84976-385-1.

[20] "Modernist Journals | White, Diana (1868-1950)". modjourn.org. Retrieved 11 March 2020.

[21] Westminster Gazette, 29 June 1914.

[22] Allied Artists Association (Great Britain) (1908). The London Salon of the Allied Artists' Association, Ltd, 1908 : first year.

[23] "Timbuctoo". www.goodreads.com. Retrieved 13 March 2020.

[24] The National review. University of Illinois Urbana-Champaign. London : W.H. Allen. 1883.{{cite book}}: CS1 maint: others (link)

[25] Bennett, Gerry. "A Rare Book" (PDF). Type High: 17 – via The Printing Museum.

[26] Tate. "'Le Miroir', Lucien Pissarro, c.1911". Tate. Retrieved 13 March 2020.

[27] "Recent Acquisitions & Others Catalogue" (PDF). Blackwell Rare Books: 60.

[28] Pissarro, Lucien; White, Diana; Pissarro, Esther (1903). The descent of Ishtar. London : Eragny Press; New York : John Lane.

[29] "THE DESCENT OF ISHTAR". The New Review, London. 16 (95): 405–412. April 1897.

[30] Smith, George (2012). The Chaldean Account of Genesis. Lulu.com. ISBN 978-1-300-02564-1.

[31] "Esther Pissarro: The Descent of Ishtar, by Diana White". Fifty Women: the Elizabeth Perkins Prothro Galleries, Bridewell Library at Perkins School of Theology. Retrieved 9 March 2020.

[32] "REVIEWS AND NOTICES". The Library. s2-VI, Issue 24: 445. October 1905 – via Oxford Literature Journals.

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@@ Line 1: / Line 1: @@
+{{short description|English painter}}
-{{Userspace draft|source=ArticleWizard|date=March 2020}}
+{{Use dmy dates|date=April 2022}}
-'''Diana White''' (19 June 1868  - 21 January 1950) was a British artist and translator.  She painted Impressionist-style landscapes and translated, into English, books authored in French and Danish.  Her most sought-after work is ''The Descent of Ishtar'' of which only 226 copies were printed.
+'''Diana White''' (19 June 1868&nbsp; – 21 January 1950) was a British artist and translator.&nbsp; She painted [[Impressionism|Impressionist]]-style landscapes&nbsp;and translated books authored in French and Danish into English.&nbsp; Her most sought-after work is the 1903 book ''The Descent of Ishtar'', of which only 226 copies were printed.
 == Life ==
-Diana White was born on 19 June 1868<ref>''The National Archives; Kew, London, England''; 1939 Register; Reference: RG 101/1935B</ref> in [[Hackney, London|Hackney]], London, England. She was the daughter of Henry White and Anne Moate.
+Diana White was born on 19 June 1868<ref>''The National Archives; Kew, London, England''; 1939 Register; Reference: RG 101/1935B.</ref> in [[Hackney, London|Hackney]], London, England. She was the daughter of Henry White and Anne Moate.
-From around the age of 12 she attended Missender House Ladies School, on Dover Street in [[Ryde]], [[Isle of Wight|Isle Of Wight]]<ref name=":4" /> within a short walking distance from the Ryde School of Art.  It is interesting to note that one of the teachers at the school, Marie Gervuex, was from [[Canton of Bern|Canton de Berne]], [[Switzerland]].<ref name=":4">1881 England Census, ''ancestry.co.uk''</ref>  She then moved back to London to live with her mother, who by then had been widowed, and to study art (c.1886-1891).<ref>1891 England Census, ''ancestry.co.uk''</ref>
+From around the age of 12 she attended Missender House Ladies School, on Dover Street in [[Ryde]], [[Isle of Wight]]<ref name=":4" /> within a short walking distance from the Ryde School of Art. It is interesting to note that one of the teachers at the school, Marie Gervuex, was from [[Canton of Bern|Canton de Berne]], [[Switzerland]].<ref name=":4">1881 England Census, ''ancestry.co.uk''.</ref> She then moved back to London to live with her mother, who by then had been widowed, and to study art (c.1886–1891).<ref>1891 England Census, ''ancestry.co.uk''.</ref>
 White, having never married, died on 21 January 1950. At that time she was living at Wotton Burwash Common, [[Sussex]].<ref>England & Wales, National Probate Calendar (Index of Wills and Administrations), 1858-1966</ref>
@@ Line 13: / Line 15: @@
 === Artist ===
-White painted still lifes<ref name=":5" /> and [[Impressionism|Impressionist-style]] landscapes<ref name=":1">{{Cite journal|last=Erickson|first=Kristen|date=1994|title=The Art of Orovida: Looking beyond the Pissarro Family Legacy.|url=https://www.jstor.org/stable/1358599?Search=yes&resultItemClick=true&searchText=%22Diana+White%22&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3D%2522Diana%2BWhite%2522%26amp%3Bfilter%3Diid%253A10.2307%252Fi258876&ab_segments=0%2Fbasic_SYC-5055%2Ftest&refreqid=search%3Aa69dc3fd826965bec782698995bf2b7a&seq=5#metadata_info_tab_contents|journal=Woman's Art Journal|volume=vol 15, no 2|pages=pp. 14-22|via=JSTOR}}</ref>.  She studied at the Crystal Palace School of Art<ref name=":0" /> under Archibald Macgregor.<ref>''The Morning Post'', Wednesday, July 30</ref>  Macgregor, an artist and architect<ref name=":2" />, was father of [[John Eric Miers Macgregor|John Macgregor]].  White's fellow student was Esther Bensusan, who later married Lucien Pissarro.  Macgregor particularly admired White’s features and she often sat for him.<ref name=":2">{{Cite book|last=Reed|first=Nicholas|url=https://books.google.co.uk/books?id=uz7exM6SuvgC&pg=PA34&lpg=PA34&dq=%22Crystal+Palace+School+of+Art%22+%22Diana+White%22&source=bl&ots=0Ibl_swzcu&sig=ACfU3U1J2BqHGqY-rqVBeWJNsafyUU0p4w&hl=en&sa=X&ved=2ahUKEwjY6a67y5DoAhXSQkEAHeQ2BNcQ6AEwAHoECAsQAQ#v=onepage&q=%20Diana%20White&f=false|title=Pissarro in West London: Kew, Chiswick and Richmond|date=1997|publisher=Lilburne Press|isbn=978-1-901167-02-3|language=en}}</ref>  She remained close friends with both Macgregor and Esther throughout her life.<ref>{{Cite journal|last=|first=|date=|title=Private Press & Artists’ Books|url=https://www.kelmscottbookshop.com/images/upload/kelmscott-catalog-14-web.pdf|journal=Kelmscott Bookshop Rare Books|volume=Catalogue 14|pages=p 4|via=}}</ref>
+White painted still lifes<ref name=":5" /> and Impressionist-style landscapes.<ref name=":1">{{Cite journal|last=Erickson|first=Kristen|date=1994|title=The Art of Orovida: Looking beyond the Pissarro Family Legacy.|journal=Woman's Art Journal|volume=15|issue=2|pages=14–22|jstor=1358599|doi=10.2307/1358599}}</ref> She studied at the [[Crystal Palace School of Art]]<ref name=":0" /> under Archibald Macgregor.<ref>''The Morning Post'', Wednesday, July 30.</ref> Macgregor, an artist and architect,<ref name=":2" /> was father of [[John Eric Miers Macgregor|John Macgregor]].  White's fellow student was [[Esther Pissarro|Esther Bensusan]], who later married [[Lucien Pissarro]]. Macgregor particularly admired White's features and she often sat for him.<ref name=":2">{{Cite book|last=Reed|first=Nicholas|url=https://books.google.com/books?id=uz7exM6SuvgC&q=+Diana+White&pg=PA34|title=Pissarro in West London: Kew, Chiswick and Richmond|date=1997|publisher=Lilburne Press|isbn=978-1-901167-02-3|language=en}}</ref> She remained close friends with both Macgregor and Bensusan throughout her life.<ref>{{Cite journal|title=Private Press & Artists' Books|url=https://www.kelmscottbookshop.com/images/upload/kelmscott-catalog-14-web.pdf|journal=Kelmscott Bookshop Rare Books|volume=Catalogue 14|pages=4}}</ref>
-While a student White was awarded: a certificate for watercolour painting (1886);<ref>''Norwood News'', CRYSTAL PALACE, 14 August 1886,</ref>  a certificate and the Scholarship in Art for 1889-90 for a model in plaster (1889).<ref>''South London Press'', 3 August 1889</ref> and, a silver medal for ‘head modelled from the life' (1890).’<ref>''Hackney and Kingsland Gazette'', Crystal Palace Art.  Scholarships, 30 July 1890</ref>
+While a student White was awarded a certificate for watercolour painting (1886),<ref>''Norwood News'', CRYSTAL PALACE, 14 August 1886,</ref> a certificate and the Scholarship in Art for 1889-90 for a model in plaster (1889),<ref>''South London Press'', 3 August 1889</ref> and a silver medal for 'head modelled from the life' (1890).'<ref>''Hackney and Kingsland Gazette'', Crystal Palace Art.&nbsp; Scholarships, 30 July 1890.</ref>
 ==== The Pissarros: Esther, Lucien and Orovida ====
-Her friendship with the Pissarros began with Esther while they were both students at the Crystal Palace School of Art. Esther met [[Lucien Pissarro]] on his first visit to London in 1883.<ref>{{Cite book|last=Jenkins|first=David Fraser|url=https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-r1105344|title=Lucien Pissarro 1863&#8211;1944|last2=Bonett|first2=Helena|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref>  Lucien returned to London in 1890<ref name=":3" /> and married Esther two years later.<ref name=":2" />  Through Esther, White also became a friend of Lucien, who was devoted to Impressionism.<ref name=":1" />
+Her friendship with the Pissarros began with Esther while they were both students at the Crystal Palace School of Art. Esther met [[Lucien Pissarro]] on his first visit to London in 1883.<ref>{{Cite book|last1=Jenkins|first1=David Fraser|url=https://www.tate.org.uk/art/research-publications/camden-town-group/lucien-pissarro-r1105344|title=Lucien Pissarro 1863–1944|last2=Bonett|first2=Helena|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref>  Lucien returned to London in 1890<ref name=":3" /> and married Esther two years later.<ref name=":2" /> Through Esther, White also became a friend of Lucien, who was devoted to Impressionism.<ref name=":1" />
-In time, White became a trusted friend and mentor to Esther and Lucien’s daughter, [[Orovida Camille Pissarro|Orovida Pissarro]].  Over the years White and Orovida exchanged hundreds of letters discussing art, theory, philosophy and literature.<ref name=":1" /> Although White was a follower of Lucien, she had her doubts about Impressionism. She wrote to Orovida: <blockquote>Everyday I feel more certain that impressionism took a wrong turn in that it ignored that art is art and not nature...I would not, for the world depress your father by stating my convictions. - Diana White, c.1916<ref name=":1" /></blockquote>White advised Orovida to study Palaeothic cave drawings, Chinese paintings, Persian miniatures, and a wide range of other art, insisting on the supremacy of Chinese art and art theory.  Orovida became an outlet for White’s philosophical discourses on art as Orovida found herself freer than White to reject Impressionism.<ref name=":1" />
+In time, White became a trusted friend and mentor to Esther and Lucien's daughter, [[Orovida Camille Pissarro|Orovida Pissarro]]. Over the years, White and Orovida exchanged hundreds of letters discussing art, theory, philosophy and literature.<ref name=":1" /> Although White was a follower of Lucien, she had her doubts about Impressionism. She wrote to Orovida: <blockquote>Everyday I feel more certain that impressionism took a wrong turn in that it ignored that art is art and not nature...I would not, for the world depress your father by stating my convictions. - Diana White, c.1916<ref name=":1" /></blockquote>White advised Orovida to study Palaeothic cave drawings, Chinese paintings, Persian miniatures, and a wide range of other art, insisting on the supremacy of Chinese art and art theory. Orovida became an outlet for White's philosophical discourses on art as Orovida found herself freer than White to reject Impressionism.<ref name=":1" />
-White and Orovida planned a joint exhibition but it never materialised.<ref name=":1" />  She wrote to Orovida:<blockquote>We must have a two woman show next year and show ‘The London Group’ a thing or two.  I should dearly like to give them a real reason for hating me, which up to now I think they have lacked, would it not be a heavenly lark!...Oh work hard, hard, hard and we’ll make them sit up. – Diana White, 1914<ref name=":1" /></blockquote>Lucien had proposed that White be included in a group exhibition at the Carfax Gallery in 1914.  When a student from Sickert was chosen in her place, Lucien threatened to withdraw, and the committee promptly admitted two of White’s paintings.<ref name=":1" />  ''The Manchester Courier'' writes that while the other exhibitors ‘illustrate various phases of Impressionism, Miss Diana White asserts her individuality with some clever drawings.’<ref>''Manchester Courier and Lancashire General Advertiser'', Our London Letter, 06 July 1914</ref>  It is possible that Lucien’s reaction, to White’s initial exclusion from the Carfax Gallery exhibition, could be explained, at least in part, by circumstances preceding the event.   [[Walter Sickert]] had been associated with the The Carfax Gallery from the start.<ref>{{Cite book|last=Shaw|first=Samuel|url=https://www.tate.org.uk/art/research-publications/camden-town-group/samuel-shaw-the-carfax-gallery-and-the-camden-town-group-r1104371|title=The Carfax Gallery and the Camden Town Group|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref>  At the time it was known for exhibiting work of the [[Camden Town Group]], a group who declared itself a ‘male club’ where women were not eligible.  Both Lucien and Sickert were members.  According to [[Charles Ginner]], Sickert was one of two that introduced the ban of women members.<ref>{{Cite book|last=Moorby|first=Nicola|url=https://www.tate.org.uk/art/research-publications/camden-town-group/nicola-moorby-her-indoors-women-artists-and-depictions-of-the-domestic-interior-r1104359|title=Her Indoors: Women Artists and Depictions of the Domestic Interior|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref>  In 1911 Esther, Lucien’s wife, had requested that White be elected a member of the Camden Town Group but her request was denied.  <blockquote>I admire Miss White’s work & I am sorry it has been rejected by the [[New English Art Club|N.E.A.C.]] especially as there are a lot of bad pictures there…. It is difficult to make a woman a member off-hand especially as the time is so limited before the next exhibition…But I see no reason why the Group should not give Miss White a special invitation to exhibit without actually making her a member until the matter has been discussed at a meeting. - [[James Bolivar Manson]], 1911<ref>{{Cite book|last=Manson|first=James Bolivar|url=https://www.tate.org.uk/art/research-publications/camden-town-group/james-bolivar-manson-letter-to-esther-pissarro-r1104613|title=Letter to Esther Pissarro|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref></blockquote>After Lucien died, Orovida returned to naturalism and to oil paints.  On hearing of Orovida tackling a new line of art and her return to oils White wrote to her, ’Beloved OCP, what glorious news that you have taken to oils, how joyous, and how much I envy you.’<ref name=":1" />
+White and Orovida planned a joint exhibition but it never materialised.<ref name=":1" /> She wrote to Orovida:<blockquote>We must have a two woman show next year and show 'The London Group' a thing or two.&nbsp; I should dearly like to give them a real reason for hating me, which up to now I think they have lacked, would it not be a heavenly lark!...Oh work hard, hard, hard and we'll make them sit up. – Diana White, 1914<ref name=":1" /></blockquote>Lucien had proposed that White be included in a group exhibition at the Carfax Gallery in 1914. When a student from Sickert was chosen in her place, Lucien threatened to withdraw, and the committee promptly admitted two of White's paintings.<ref name=":1" /> ''[[Manchester Courier|The Manchester Courier]]'' wrote that while the other exhibitors "illustrate various phases of Impressionism, Miss Diana White asserts her individuality with some clever drawings".<ref>''Manchester Courier and Lancashire General Advertiser'', Our London Letter, 06 July 1914</ref> It is possible that Lucien's reaction, to White's initial exclusion from the Carfax Gallery exhibition, could be explained, at least in part, by circumstances preceding the event. [[Walter Sickert]] had been associated with the Carfax Gallery from the start.<ref>{{Cite book|last=Shaw|first=Samuel|url=https://www.tate.org.uk/art/research-publications/camden-town-group/samuel-shaw-the-carfax-gallery-and-the-camden-town-group-r1104371|title=The Carfax Gallery and the Camden Town Group|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref> At the time it was known for exhibiting work of the [[Camden Town Group]], a group who declared itself a "male club" where women were not eligible. Both Lucien and Sickert were members. According to [[Charles Ginner]], Sickert was one of two that introduced the ban of women members.<ref>{{Cite book|last=Moorby|first=Nicola|url=https://www.tate.org.uk/art/research-publications/camden-town-group/nicola-moorby-her-indoors-women-artists-and-depictions-of-the-domestic-interior-r1104359|title=Her Indoors: Women Artists and Depictions of the Domestic Interior|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref> In 1911, Esther requested that White be elected a member of the Camden Town Group but her request was denied.&nbsp; <blockquote>I admire Miss White's work & I am sorry it has been rejected by the [[New English Art Club|N.E.A.C.]] especially as there are a lot of bad pictures there.... It is difficult to make a woman a member off-hand especially as the time is so limited before the next exhibition...But I see no reason why the Group should not give Miss White a special invitation to exhibit without actually making her a member until the matter has been discussed at a meeting. - [[James Bolivar Manson]], 1911<ref>{{Cite book|last=Manson|first=James Bolivar|url=https://www.tate.org.uk/art/research-publications/camden-town-group/james-bolivar-manson-letter-to-esther-pissarro-r1104613|title=Letter to Esther Pissarro|date=2012-05-01|publisher=Tate|isbn=978-1-84976-385-1|language=en}}</ref></blockquote>After Lucien died, Orovida returned to naturalism and to oil paints. On hearing of Orovida tackling a new line of art and her return to oils, White wrote to her, "Beloved OCP, what glorious news that you have taken to oils, how joyous, and how much I envy you."<ref name=":1" />
 ==== Exhibitions ====
-She exhibited frequently at the [[Goupil & Cie|Goupil Gallery]] (1908 – 1922)<ref>{{Cite web|url=https://modjourn.org/biography/white-diana-1868-1950/|title=Modernist Journals {{!}} White, Diana (1868-1950)|website=modjourn.org|access-date=2020-03-11}}</ref> and also exhibited at the: [[Royal Albert Hall]] (1908); galleries of the [[Royal Society of British Artists]] (1909 – 1913);  [[Gustave Doré|Dore Gallery]] (1914); [[Whitechapel Gallery|Whitechapel Art Gallery]] (1914);<ref name=":5">{{Cite web|url=https://exhibitions.univie.ac.at/person/ulan/500081290|title=Diana White|website=Database of Modern Exhibitions (DoME) {{!}} European Paintings and Drawings 1905-1915|language=en|access-date=2020-03-11}}</ref> and, Carfax Gallery (1914).<ref>''Westminster Gazette'', 29 June 1914</ref>
+She exhibited frequently at the [[Goupil & Cie|Goupil Gallery]] (1908 – 1922)<ref>{{Cite web|url=https://modjourn.org/biography/white-diana-1868-1950/|title=Modernist Journals {{!}} White, Diana (1868-1950)|website=modjourn.org|access-date=2020-03-11}}</ref> and also exhibited at the:
+* [[Royal Albert Hall]] (1908)
-At the first exhibition or ‘Salon’ of the [[Allied Artists Association|Allied Artists' Association]] held at the Royal Albert Hall in 1908, White showed: five water colour drawings; seven pen and ink drawings; five chalk drawings; and, two water colour paintings, ''An Essex Cottage'' and ''A Road in Norfolk''.  Each exhibitor was limited to showing a total of five works.  White ‘framed’ her drawings into three groups of, five or seven, individual drawings.  So, although she showed 19 individual drawings and paintings, these three groups and two paintings formed only five works.<ref>{{Cite book|last=Allied Artists Association (Great Britain)|url=http://archive.org/details/AAALondonSalon1908|title=The London Salon of the Allied Artists' Association, Ltd., 1908 : first year|date=1908|language=English}}</ref>
+* Galleries of the [[Royal Society of British Artists]] (1909–1913)
+* [[Gustave Doré|Dore Gallery]] (1914)
+* [[Whitechapel Gallery|Whitechapel Art Gallery]] (1914)<ref name=":5">{{Cite web|url=https://exhibitions.univie.ac.at/person/ulan/500081290|title=Diana White|website=Database of Modern Exhibitions (DoME) {{!}} European Paintings and Drawings 1905-1915|language=en|access-date=2020-03-11}}</ref>
+* Carfax Gallery (1914)<ref>''Westminster Gazette'', 29 June 1914.</ref>
+At the first exhibition or "Salon" of the [[Allied Artists Association|Allied Artists' Association]] held at the Royal Albert Hall in 1908, White showed five water colour drawings, seven pen and ink drawings, five chalk drawings, and two watercolour paintings; ''An Essex Cottage'' and ''A Road in Norfolk''. Each exhibitor was limited to showing a total of five works. White "framed" her drawings into three groups of five or seven individual drawings. So, although she showed 19 individual drawings and paintings, these three groups and two paintings formed only five exhibits.<ref>{{Cite book|last=Allied Artists Association (Great Britain)|url=http://archive.org/details/AAALondonSalon1908|title=The London Salon of the Allied Artists' Association, Ltd, 1908 : first year|date=1908|language=en}}</ref>
-She also showed for three years in the ''Exhibition for Modern Pictures'' ([[New English Art Club]], 1909-1913); the ''Post-Impressionist and Futurist Exhibition'' (Dore Gallery, 1914); and, the ''Twentieth Century Art. A Review of Modern Movements'' (Whitechapel Art Gallery, 1914).<ref name=":5" />
+She also showed for three years in the ''Exhibition for Modern Pictures'' ([[New English Art Club]], 1909-1913), the ''Post-Impressionist and Futurist Exhibition'' (Dore Gallery, 1914), and the ''Twentieth Century Art. A Review of Modern Movements'' (Whitechapel Art Gallery, 1914).<ref name=":5" />
 === Translator ===
 ==== French to English ====
-Her first and last translations were from books written in French: ''Tombouctou la Mystérieuse'' and ''Album de Poèmes tirés du Livre de Jade''.
+Her first and last translations were for books written in French: ''Tombouctou la Mystérieuse'' and ''Album de Poèmes tirés du Livre de Jade''.
-In ''Tombouctou la Mystérieuse'' [[Félix Dubois|Felix Dubois]] wrote about his travels along [[Niger|The Niger]], [[Djenné|Jenne]], [[Songhai Empire|Songhois]], [[Sudan]] and to [[Timbuktu]]. He described the commerce, life, politics, literature and people of the places he visited.<ref>{{Cite web|url=https://www.goodreads.com/work/best_book/2201433-timbuctoo-the-mysterious|title=Timbuctoo|website=www.goodreads.com|access-date=2020-03-13}}</ref><blockquote>Timbuctoo the Mysterious…An indescribably fascinating book of travel almost reflecting as much credit on the translator as on the author.  It is being widely read. – ''[[National Review (London)|The National Review]]'', 1897<ref>{{Cite book|url=http://archive.org/details/nationalreview2918unse|title=The National review|date=1883|publisher=London : W.H. Allen|others=University of Illinois Urbana-Champaign}}</ref></blockquote>''Album de Poèmes tirés du Livre de Jade'', translated into French from the original Chinese, by [[Judith Gautier]] was first published in 1911 by Eragny Press<ref>{{Cite journal|last=Bennett|first=Gerry|date=|title=A Rare Book|url=https://www.nudelmanbooks.com/images/upload/cat-36-final-44mb.pdf|journal=Type High|volume=|pages=p. 17|via=The Printing Museum}}</ref> (see ''The Descent of Ishtar'' below).  Gautier’s book included a preface by White.<ref>{{Cite web|url=https://www.tate.org.uk/art/artworks/pissarro-le-miroir-p07099|title=‘Le Miroir’, Lucien Pissarro, c.1911|last=Tate|website=Tate|language=en-GB|access-date=2020-03-13}}</ref>  White wrote her version in English, ''Preface to an Album of Poems from the Livre de Jade'', which was reprinted privately, only 60 copies, for Orovida Pissarro in 1948.<ref>{{Cite journal|last=|first=|date=|title=Recent Acquisitions & Others Catalogue|url=https://bookshop.blackwell.co.uk/extracts/B157.pdf|journal=Blackwell Rare Books|volume=|pages=p. 60|via=}}</ref>
+In ''Tombouctou la Mystérieuse,'' [[Félix Dubois|Felix Dubois]] wrote about his travels along [[Niger|The Niger]], [[Djenné|Jenne]], [[Songhai Empire|Songhois]], [[Sudan]] and to [[Timbuktu]]. He described the commerce, life, politics, literature and people of the places he visited.<ref>{{Cite web|url=https://www.goodreads.com/work/best_book/2201433-timbuctoo-the-mysterious|title=Timbuctoo|website=www.goodreads.com|access-date=2020-03-13}}</ref><blockquote>Timbuctoo the Mysterious...An indescribably fascinating book of travel almost reflecting as much credit on the translator as on the author. It is being widely read. – ''[[National Review (London)|The National Review]]'', 1897.<ref>{{Cite book|url=http://archive.org/details/nationalreview2918unse|title=The National review|date=1883|publisher=London : W.H. Allen|others=University of Illinois Urbana-Champaign}}</ref></blockquote>''Album de Poèmes tirés du Livre de Jade'', translated into French from the original Chinese, by [[Judith Gautier]] was first published in 1911 by Eragny Press<ref>{{Cite journal|last=Bennett|first=Gerry|title=A Rare Book|url=https://www.nudelmanbooks.com/images/upload/cat-36-final-44mb.pdf|journal=Type High|pages=17|via=The Printing Museum}}</ref> (see ''The Descent of Ishtar'' below). Gautier's book included a preface by White.<ref>{{Cite web|url=https://www.tate.org.uk/art/artworks/pissarro-le-miroir-p07099|title='Le Miroir', Lucien Pissarro, c.1911|last=Tate|website=Tate|language=en-GB|access-date=2020-03-13}}</ref> White wrote her version in English, ''Preface to an Album of Poems from the Livre de Jade'', which was reprinted privately (only 60 copies) for Orovida Pissarro in 1948.<ref>{{Cite journal|title=Recent Acquisitions & Others Catalogue|url=https://bookshop.blackwell.co.uk/extracts/B157.pdf|journal=Blackwell Rare Books|pages=60}}</ref>
-==== Danish to English ====
+==== ''The Descent of Ishtar'' ====
+[[File:The Descent of Ishtar.jpg|thumb|Image of page from ''The Descent of Ishtar'' by Diana White, Eragny Press 1903|324x324px]]
+Because of its rarity, her most sought after book is ''The Descent of Ishtar'', or ''Ishtar's descent to the nether world''.<ref>{{Cite book|last1=Pissarro|first1=Lucien|url=https://trove.nla.gov.au/version/40251166|title=The descent of Ishtar|last2=White|first2=Diana|last3=Pissarro|first3=Esther|date=1903|publisher=London : Eragny Press; New York : John Lane|language=en}}</ref>&nbsp; Only 226 copies were printed.<ref name=":0">{{Cite web|url=https://graphicarts.princeton.edu/2014/08/06/o-that-ishtar-might-hear-me/|title=O that Ishtar might hear me|date=6 August 2014|website=Princeton University, Graphic Arts Collection|access-date=9 Mar 2020}}</ref>&nbsp;and was printed by Eragny Press which was established by [[Lucien Pissarro]] and his wife Esther (''née'' Bensusan).<ref name=":3">{{Cite web|url=https://www.christies.com/lotfinder/Lot/the-eragny-press-1640158-details.aspx|title=THE ERAGNY PRESS|date=10 December 1999|website=Christie's, Fine Printed Books and Literary Manuscripts|access-date=9 Mar 2020}}</ref>&nbsp; White's book is a translation of the Seventh Tablet in the Deluge Series<ref name=":0" /> and is the story of [[Inanna|Inanna-Ishtar's]] descent into the Underworld.&nbsp; White is attributed as the translator however she relied on others to translate the tablet and then "prepared [it] for the press".<ref name=":0" /><blockquote>[[Cuneiform|Cuneform]] being a closed book to me, I wish to express my entire indebtedness for the present version of the legend to its various translators: Mr. [[George Smith (Assyriologist)|George Smith]], [[Archibald Sayce|Professor Sayce]], Professor Shrader, and [[Joachim Menant|MM. Joachim Menant]], [[Julius Oppert]], and [[François Lenormant|Francois Lenormant]] – D[iana] W[hite], 1897<ref>{{Cite journal|date=Apr 1897|title=THE DESCENT OF ISHTAR|url=https://www.proquest.com/openview/ee8f9f15c6d0de5f/1?pq-origsite=gscholar&cbl=1980|journal=The New Review, London|volume=16|issue=95|pages=405–412}}</ref></blockquote>Translators had been working on the tablet for some years before White published her book in 1903.&nbsp; George Smith, for example, had relied on [[Henry Fox Talbot|Fox Talbot's]] translation, as well as others, and first published his translation of it in 1872 in [[The Daily Telegraph|''The'' ''Daily Telegraph'']].<ref>{{Cite book|last=Smith|first=George|url=https://books.google.com/books?id=48HdAwAAQBAJ&q=The+Descent+of+Ishatar+George+Smith&pg=PA206|title=The Chaldean Account of Genesis|date=2012|publisher=Lulu.com|isbn=978-1-300-02564-1|language=en}}</ref>  However, in writing and "preparing" her book it may be that some translation was required from French or German.  The book's [[Colophon (publishing)|colophon]] states that the [[Book frontispiece|frontispiece]] was "designed by Diana White & engraved on the wood by Esther Pissarro. The double border and initial letters were designed by Lucien Pissarro and engraved by Esther Pissarro."<ref>{{Cite web|url=https://www.smu.edu/Bridwell/SpecialCollectionsandArchives/Exhibitions/FiftyWomen/ModernBinders/Pissarro2|title=Esther Pissarro: The Descent of Ishtar, by Diana White|website=Fifty Women: the Elizabeth Perkins Prothro Galleries, Bridewell Library at Perkins School of Theology|access-date=9 Mar 2020}}</ref>  The book is 30 pages of poetry and illustrations in [[Art Nouveau]] design.&nbsp; At the time it received mixed reviews:<blockquote>On...'The Descent of Ishtar,' by Diana White, both the decoration (or undecoration) border and the woodcut seem to us failures, nor are we able to admire by any means all the specimen illustrations...modelled on that by Mr. Cockrell of Morris's.&nbsp; But the book tells an interesting story, and is worth buying by everyone who cares for modern experiments in printing.' – ''The Library'', 1905<ref>{{Cite journal|date=October 1905|title=REVIEWS AND NOTICES|url=https://academic.oup.com/library/article-abstract/s2-VI/24/445/922600?redirectedFrom=fulltext|journal=The Library|volume= s2-VI, Issue 24|pages=445|via=Oxford Literature Journals}}</ref></blockquote>
-==== The Descent of Ishtar ====
-Because of its rarity, her most sought after book is ''The Descent of Ishtar'', or ''Ishtar's descent to the nether world''<ref>{{Cite book|last=Pissarro|first=Lucien|url=https://trove.nla.gov.au/version/40251166|title=The descent of Ishtar|last2=White|first2=Diana|last3=Pissarro|first3=Esther|date=1903|publisher=London : Eragny Press ; New York : John Lane|language=English}}</ref>.  Only 226 copies were printed.<ref name=":0">{{Cite web|url=https://graphicarts.princeton.edu/2014/08/06/o-that-ishtar-might-hear-me/|title=O that Ishtar might hear me|last=|first=|date=6 August 2014|website=Princeton University, Graphic Arts Collection|url-status=live|archive-url=|archive-date=|access-date=9 Mar 2020}}</ref> and was printed by Eragny Press which was established by [[Lucien Pissarro]] and his wife Esther (''née'' Bensusan).<ref name=":3">{{Cite web|url=https://www.christies.com/lotfinder/Lot/the-eragny-press-1640158-details.aspx|title=THE ERAGNY PRESS|last=|first=|date=10 December 1999|website=Christie's, Fine Printed Books and Literary Manuscripts|url-status=live|archive-url=|archive-date=|access-date=9 Mar 2020}}</ref>  White's book is a translation of the Seventh Tablet in the Deluge Series<ref name=":0" /> and is the story of [[Inanna|Inanna-Ishtar's]] descent into the Underworld.  White is attributed as the translator however she relied on others to translate the tablet and then ‘prepared [it] for the press’.<ref name=":0" /><blockquote>[[Cuneiform|Cuneform]] being a closed book to me, I wish to express my entire indebtedness for the present version of the legend to its various translators: Mr. [[George Smith (Assyriologist)|George Smith]], [[Archibald Sayce|Professor Sayce]], Professor Shrader, and [[Joachim Menant|MM. Joachim Menant]], [[Julius Oppert]], and [[François Lenormant|Francois Lenormant]] – D[iana] W[hite], 1897<ref>{{Cite journal|last=|first=|date=Apr 1897|title=THE DESCENT OF ISHTAR|url=https://search.proquest.com/openview/ee8f9f15c6d0de5f/1?pq-origsite=gscholar&cbl=1980|journal=The New Review, London|volume=Vol. 16, Iss. 95|pages=405-412|via=}}</ref></blockquote>Translators had been working on the tablet for some years before White published her book in 1903.  George Smith, for example, had relied on [[Henry Fox Talbot|Fox Talbot’s]] translation, as well as others, and first published his translation of it in 1872 in [[The Daily Telegraph|''The'' ''Daily Telegraph'']].<ref>{{Cite book|last=Smith|first=George|url=https://books.google.co.uk/books?id=48HdAwAAQBAJ&lpg=PA206&dq=The%20Descent%20of%20Ishatar%20George%20Smith&pg=PA206#v=onepage&q=The%20Descent%20of%20Ishatar%20George%20Smith&f=false|title=The Chaldean Account of Genesis|date=2012|publisher=Lulu.com|isbn=978-1-300-02564-1|language=en}}</ref>  However, in writing and 'preparing' her book it may be that some translation was required from French or German.  The book’s [[Colophon (publishing)|colophon]] states that the [[Book frontispiece|frontispiece]] was “designed by Diana White & engraved on the wood by Esther Pissarro. The double border and initial letters were designed by Lucien Pissarro and engraved by Esther Pissarro.”<ref>{{Cite web|url=https://www.smu.edu/Bridwell/SpecialCollectionsandArchives/Exhibitions/FiftyWomen/ModernBinders/Pissarro2|title=Esther Pissarro: The Descent of Ishtar, by Diana White|last=|first=|date=|website=Fifty Women: the Elizabeth Perkins Prothro Galleries, Bridewell Library at Perkins School of Theology|url-status=live|archive-url=|archive-date=|access-date=9 Mar 2020}}</ref>  The book is 30 pages of poetry and illustrations in [[Art Nouveau]] design.  At the time it received mixed reviews:<blockquote>On…‘The Descent of Ishtar,’ by Diana White, both the decoration (or undecoration) border and the woodcut seem to us failures, nor are we able to admire by any means all the specimen illustrations…modelled on that by Mr. Cockrell of Morris’s.  But the book tells an interesting story, and is worth buying by everyone who cares for modern experiments in printing.’ – ''The Library'', 1905<ref>{{Cite journal|last=|first=|date=October 1905|title=REVIEWS AND NOTICES|url=https://academic.oup.com/library/article-abstract/s2-VI/24/445/922600?redirectedFrom=fulltext|journal=The Library|volume=Volume s2-VI, Issue 24|pages=p. 445|via=Oxford Literature Journals}}</ref></blockquote>
 == Collections ==
@@ Line 51: / Line 58: @@
 === French to English ===
-*''Timbuctoo the Mysterious,'' by Felix Dubois.  Translated by Diana white (1896)
+*''Timbuctoo the Mysterious,'' by Felix Dubois.&nbsp; Translated by Diana white (1896)
 *''Preface to an Album of Poems from the Livre de Jade,'' by Diana White (1948)
@@ Line 73: / Line 80: @@
 == External links ==
+*{{Art UK bio|nocount=y}}
+*[https://booksandvines.com/2019/07/17/the-descent-of-ishtar-by-diana-white-eragny-press-1903/ ''The Descent of Ishtar'' by Diana White]  at Books and Vines
+*[https://babel.hathitrust.org/cgi/pt?id=uc2.ark:/13960/t3tt4hw8k&view=1up&seq=7 ''Timbuctoo the mysterious'', by Felix Dubois; translated by Diana White]  at [[HathiTrust]]
+*[https://catalog.hathitrust.org/Record/001111110?type%5B%5D=author&lookfor%5B%5D=%22White%2C%20Diana.%22&ft= ''Main currents in nineteenth century literature'' Vols 1-6, by Gerog Brandes; translated by Mary Morison and Diana White] at [[HathiTrust]]
+*[https://babel.hathitrust.org/cgi/pt?id=hvd.hwkc5p&view=1up&seq=10 ''William Shakespeare: a critical study'', by Georg Brandes. v.2; translated by Mary Morison and Diana White] at [[HathiTrust]]
+{{Authority control}}
+{{DEFAULTSORT:White, Diana}}
-*{{Art UK bio|id=white-diana-18681950}}
+[[Category:1868 births]]
-*[https://booksandvines.com/2019/07/17/the-descent-of-ishtar-by-diana-white-eragny-press-1903/ The Descent of Ishtar by Diana White]  at Books and Vines
+[[Category:1950 deaths]]
-*[https://babel.hathitrust.org/cgi/pt?id=uc2.ark:/13960/t3tt4hw8k&view=1up&seq=7 Timbuctoo the mysterious, by Felix Dubois; translated by Diana White]  at [[HathiTrust]]
+[[Category:20th-century English painters]]
-*[https://catalog.hathitrust.org/Record/001111110?type%5B%5D=author&lookfor%5B%5D=%22White%2C%20Diana.%22&ft= Main currents in nineteenth century literature Vols 1-6, by Gerog Brandes; translated by Mary Morison and Diana White] at [[HathiTrust]]
+[[Category:English translators]]
-*[https://babel.hathitrust.org/cgi/pt?id=hvd.hwkc5p&view=1up&seq=10 William Shakespeare: a critical study, by Georg Brandes. v.2; translated by Mary Morison and Diana White] at [[HathiTrust]]
+[[Category:British artists]]
-<!--- Categories --->
+[[Category:20th-century English women]]
+[[Category:20th-century English women painters]]

Authority control databases
International	ISNI VIAF
National	United States
Artists	ULAN
Other	IdRef