Summary

Portrait of Owen Johnson Owen Johnson The Woman Gives: A Story of Regeneration

Feeley, bounding up, came rushing in furiously, but Dangerfield stopped him with a quick oath, and he turned, gazing, too, at the tall figure, purposely concealed in furs and heavy veils.
There was a silence as flat as a calm in a gale. Each recognized at once that it was a woman of the world and that she had the right to be there, and drew back so as to leave the room to the two figures: the woman drawn up scornfully against the door, and Dangerfield, with his lips twitching and his curious bearlike stare, facing her, with the white lights running over his glistening neck and torso.
Source: Gutenberg

Portrait of Owen Johnson Owen Johnson The Woman Gives: A Story of Regeneration

You’ve done a bigger thing than just getting hold of me, Inga; you’ve given me back the power of sensations—that’s youth, that’s the artist. Well, to be an artist is to retain youth, I suppose, the ability to receive sensations. You’ve got that instinct yourself, primitive, savage, but it’s there in everything you do. And I get it from you, from watching you, from feeling through your eyes. That’s the big thing—to feed me with sensations. You see that’s what civilization has taken from us, the power of sensations, passion, love, hate, fear—all great sensations of the artist.
Source: Gutenberg

Portrait of Owen Johnson Owen Johnson The Woman Gives: A Story of Regeneration

By eleven Inga had the studio in order, arranging it with solicitous eye, hastening out to add the pleasant touch of a few clusters of gold and red poppies with the instinct of the woman who felt that she too, and her work, were on trial. When she returned she found Dangerfield in a fever of restlessness tramping the room. She came in quietly, arranging the brilliant notes of fragile petals so as to lighten up the somberness of the great renaissance table, watching meanwhile the furrowed moods which fell rapidly over the face of the artist.
Source: Gutenberg

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