Although Shakespeare does include Dorinda as a character in his comedy, John Dryden’s eighteenth-century adaptation The Tempest, or The Enchanted Island develops Dorinda as a detailed character and a companion to Miranda.

This highly finished, almost sculptural, chalk drawing depicts Brockhurst’s second wife Kathleen Woodward, whom Brockhurst called ‘Dorette’. Brockhurst habitually illustrated Woodward with her hair loose, just above shoulder length, whereas in this portrait his sitter takes on a new persona, that of Dorinda, presumably taken from Shakespeare’s The Tempest.
Although Shakespeare does include Dorinda as a character in his comedy, John Dryden’s eighteenth-century adaptation The Tempest, or The Enchanted Island develops Dorinda as a detailed character and a companion to Miranda.

Brockhurst met Woodward after he became a Visitor to the Royal Academy Schools in 1928 where she was a model from the age of sixteen. He became enamoured with her youthful beauty and began having an affair with her; he was twenty-two years her senior and already married. Woodward became Brockhurst’s muse and he would often title portraits of her after Shakespearean characters such as Ophelia and Dorinda, just as he had titled portraits of his first wife...


Read more

This highly finished, almost sculptural, chalk drawing depicts Brockhurst’s second wife Kathleen Woodward, whom Brockhurst called ‘Dorette’. Brockhurst habitually illustrated Woodward with her hair loose, just above shoulder length, whereas in this portrait his sitter takes on a new persona, that of Dorinda, presumably taken from Shakespeare’s The Tempest.
Although Shakespeare does include Dorinda as a character in his comedy, John Dryden’s eighteenth-century adaptation The Tempest, or The Enchanted Island develops Dorinda as a detailed character and a companion to Miranda. 

Brockhurst met Woodward after he became a Visitor to the Royal Academy Schools in 1928 where she was a model from the age of sixteen. He became enamoured with her youthful beauty and began having an affair with her; he was twenty-two years her senior and already married. Woodward became Brockhurst’s muse and he would often title portraits of her after Shakespearean characters such as Ophelia and Dorinda, just as he had titled portraits of his first wife Anais after characters in Greek mythology, Hermione and Pandora.


[1] Leigh, L. (2014) Shakespeare and the Embodied Heroine, Staging Female Characters in the Late Plays ad Early Adaptations. Basingstoke: Palgrave Macmillan, p. 76.

Receive information about exhibitions, news & events.

We will process the personal data you have supplied in accordance with our privacy policy. You can unsubscribe or change your preferences at any time by clicking the link in any emails.
Close

Basket

No items found
Close

Your saved list

This list allows you to enquire about a group of works.
No items found
Close
Mailing list signup

Get exclusive updates from Philip Mould Gallery

Close

Sign up for updates

Make an Enquiry

Receive newsletters

In order to respond to your enquiry, we will process the personal data you have supplied in accordance with our privacy policy. You can unsubscribe or change your preferences at any time by clicking the link in any emails.

Close
Search
Close
Close
500 Years of British Art