Dorothy believed that “there is no ‘approved’ technique for landscape painters”; no one way of communicating that is superior to another. She did, however, contend that, as with portraiture, the landscape artist must delve deeply into the world of great thought and emotion before arriving at a composition. She should look for an aspect in the countryside around her that strikes a chord with her own individual temperament and personality; a scene in which she can fall in love with the sensation present in nature and be totally receptive to it.

Only once a suitable scene has been located can we turn to Dorothy’s most practical suggestion for those who are contemplating this form of painting; that the artist should be completely at the ready, with paint on the palette and brush in hand before starting, “so that once we put paint on canvas there are no material distractions to interrupt the flow”. Indeed, she suggested that even the canvas and the brush should be forgotten as far as possible, counselling us to “look at nature long and hard and only at our canvases because we must”.

Even with the equipment ready, it would be “a mistake to rush into putting paint on canvas”. Rather, we must “pause and think, then think deeper, until our emotions and thoughts are in perfect harmony… This is a crucial part of the painting, as creating takes place in the mind”. The aim is not to provide a mere photographic record of the scene, but to “create anew from Creation” as it inspires and provokes an emotional and even spiritual response in our very core. The resulting painting should clearly communicate the wealth of emotions that have been triggered in the artist by the scene that lies before her. So, by taking the time at the start to profoundly contemplate and resisting the urge to lay paint on the canvas as soon as possible, the painting process should be less fraught, since “the more in harmony our feelings and thoughts, the more relaxed and flowing will be our brushwork”. Indeed, even an artist’s technique could and should be dictated by the inspiration derived from nature, with Dorothy suggesting that, “above all, let us be receptive and paint as the spirit guides”.

With this in mind, it is hardly surprising that Dorothy advises to paint the landscape in a single sitting, since putting time and in some cases distance between the artist and the subject can weaken her emotional response to the living atmosphere and compelling impression that lies before her. This is not to say, however, that the artist should expect the painting to come easily. In addition to inspiration, Dorothy was clear that perspiration would be required. The harnessing of strong emotions, through using, selecting, simplifying and recreating that which is visible to express the essence, the soul which is felt and not seen, is in itself a process that requires strength. Hence, sense can be made of Dorothy’s note to herself, that she should “be as wax to receive and granite to create”.

Dorothy also proffered advice for those who reached the point of being ready to paint. In this, she contended that “a painting cannot be constructed piece by piece like a jigsaw”. Rather, a methodical approach should be taken in order to attempt to paint the whole scene in one go. For this, she counselled that “we build it up all over the canvas, not with haphazard temporary brushstrokes, but with brushstrokes of the right value or tone and right colour from start to finish, keeping the eye roving constantly. It is essential to allow our eyes to take in everything all in one go throughout the whole of the painting” (underlining original). This again requires strength and discipline as well as a painting technique that does not nervously, hesitantly dab at the canvas.

No correction of any mistakes should occur during this first phase. Only once the canvas has become home to a substantial first draft is it time to return and rework. Again, however, focusing on one area and the detail therein would be unwise. The same manner, taking in all the scene and composition at once, should be employed again, “correcting if necessary and adding more tones and colour side by side increasingly until we have said all we can. It is better to draw by means of tone against tone and colour against colour, rather than with line, for this purpose”. To use Dorothy’s own conclusion “to sum up, the thing is to feel deeply, think clearly and to paint deliberately and generously” (underlining original).