Diana White (artist)

It is interesting to note that one of the teachers at the school, Marie Gervuex, was from Canton de Berne, Switzerland.

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.

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.

- James Bolivar Manson, 1911[19]After Lucien died, Orovida returned to naturalism and to oil paints.

In Tombouctou la Mystérieuse, Felix Dubois wrote about his travels along The Niger, Jenne, Songhois, Sudan and to Timbuktu.

[23]Timbuctoo the Mysterious...An indescribably fascinating book of travel almost reflecting as much credit on the translator as on the author.

[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.

[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.

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.

The book's colophon states that the frontispiece was "designed by Diana White & engraved on the wood by Esther Pissarro.

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.'