Who painted "The Woman That Was"?

"The Woman That Was" was painted by George Du Maurier in 1865.

Where can I see "The Woman That Was"?

"The Woman That Was" is held by National Gallery of Art.

What movement is "The Woman That Was"?

"The Woman That Was" is associated with Romanticism.

Can I buy a print of "The Woman That Was"?

Museum-quality prints of "The Woman That Was" are available made-to-order from Artifact World Gallery.

Artwork

"The Woman That Was"

George Du Maurier , 1865

"The Woman That Was" is an ink drawing by the Romanticist artist George Du Maurier. It dates from 1865 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:by artist in pen and brown ink on separate sheet: The woman that was (underlined) / Monsieur le Maréchal (who during the forties was / a dashing young military attaché at the French Embassy / in London): / "Ah, Duchess! and do you remember ze so / beautiful young lady Mary-Gwendolen Vere de Vere, zat / everybody went mad about ven I was in England? / Ven I tink of 'er, my earrt beat even now!" / The Duchess (née Mary-Gwendolen Vere de Vere): / "oh yes, Monsieur le Maréchal_I remember her only / too well!" / M. le Maréchal: "Vat 'as become ov 'er, Madame la / Duchess?" / Her Grace (with a sigh): "Elle n'est plus!"

About this work

Overview

George du Maurier’s drawing titled “The Woman That Was” was executed in 1865. Rendered on wove paper, the work combines pen and brown ink with a brown wash applied over an initial graphite sketch, resulting in a monochromatic composition that reflects the artist’s mid‑nineteenth‑century practice.

Technique & Style

The piece demonstrates du Maurier’s skillful handling of line and tone. He began with a graphite underdrawing, establishing form and proportion, before developing the image with pen work and a subtle brown wash. The wash adds depth and a muted atmospheric quality, while the ink outlines preserve the drawing’s crispness.

Context

Created during a period when du Maurier was establishing his reputation as an illustrator and caricaturist, the drawing aligns with the era’s interest in detailed, narrative sketches. Its modest scale and limited palette suggest it was intended for private viewing or as a preparatory study rather than a public exhibition.