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Updated: May 22, 2025
Cooper worked in the older method of primary colors, of vivid, even violent contrasts: his was not the school of subtleties. His women, for example, strike us as somewhat mechanical; there is a sameness about them that means the failure to differentiate: the Ibsenian psychology of the sex was still to come. But this does not alter the obvious excellencies of the work.
But the extra pennyworth was all ghosts: ghosts, ghosts, ghosts; full measure, pressed down and running over; not your Ibsenian shadows of heredity, but real live ghosts, handsomely appointed, with chains and groans and wavy wardrobes. They lived in moated granges and ivy-wreathed castles, and paced snowy terraces or dark, desolate corridors.
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