Pencil on paper. Undeterred, Knight joined Mills and his company when they embarked on a national tour in partnership with Great Carmo’s circus.
© The Artist's Estate. 35.8 x 25.7 cm. Dame Laura Knight RA, In their concluding review of her life and work, Grimes et al comment: 'Women interested in British art, and British women artists, have all too few role models - Laura Knight is one of the most inspiring.' Knight used portraiture to capture contemporary life and culture, and her paintings are remarkable for their diverse range of subjects and settings. Galleries 3 and 4 focus on the development of Laura’s career from around 1920 (though Gallery 1 includes views of Mousehole and Sennen Cove produced during the early 1920s, reminding one that Laura returned regularly to her beloved Cornwall). However, this sustained period of patronage challenged the artistic autonomy Knight had enjoyed for over forty years, and she wrangled with the committee over subject matter and remuneration. A divergence of interests was probably inevitable in such an ill-matched couple. In Gallery 2, on loan from Tate Britain, is the large canvas ‘Spring’, a depiction of the Lamorna valley bursting with new growth.
Dame Laura Knight RA, 2002: Penlee House Faces of Cornwall Exhibition and Women Painters (Group); 2012: Penlee House Laura Knight - In the Open Air (June-Sept), RA 1936 (First woman to be elected full RA in Twentieth Century), St Ives Times 27 Mar 1914, 14 May 1920 [from WMN], Hardie (1990) In Time and Place, Lamorna illus, Hardie (1995) 100 Years in Newlyn: Diary of a Gallery, Hardie (2009) Artists in Newlyn and West Cornwall (col pl The China Clay Pit), Hoyle, H (Sept 2010 Women Artists in Cornwall www.cornishmuse.blogspot.com) 'Laura Knight - Representations of Women', Hoyle, H (June 2012 Women Artists in Cornwall www.cornishmuse.blogspot.com) 'Laura Knight - In the Open Air', Hoyle, H (March 2013 Women Artists in Cornwall www.cornishmuse.blogspot.com) 'Summer in February - Art in Lamorna 1910-1914'. For these high-profile works, Knight developed a smooth and precise painting style that would reproduce well.
© Reproduced with the permission of The Estate of Dame Laura Knight DBE, RA, 2019.
Dame Laura Knight (1877 –1970) was one of the most popular and pioneering British artists of the twentieth century. Dame Laura Knight (1877-1970) was one of the most popular and pioneering British artists of the twentieth century. 1939/40.
Ploughed Field near Malvern with Distant Buildings,
They lived in painted wagons and tents sited on a field belonging to the local farmer, for whom they did agricultural work. mid-1950s. Part of the RA CollectionOil on canvas. As one of the most popular artists in Britain, it was imperative that the War Artist’s Advisory Committee, under the direction of Sir Kenneth Clark, secured Knight’s services. List of all 43 artworks by Laura Knight Go to Artist page Signup for news & updates You entered the wrong email. When the war ended, Knight suggested to the committee that she should be flown to Germany as a war correspondent, to record the trial of Nazi war criminals in Nuremberg, another immersive project that challenged her entire approach to portraiture. The background presented a considerable challenge to the artist, who eventually settled on an apocalyptic representation of the ruined city, whose devastation surrounded her each day on the nightmarish journey between hotel and courtroom. Pen and brush with blue ink on card.
Harold resuscitated his career, becoming a successful portrait painter, while Laura developed a passion for theatre and ballet. All Rights Reserved.
Later, after leaving Cornwall in 1919, the Knights established themselves in London.
© Reproduced with the permission of The Estate of Dame Laura Knight DBE, RA, 2019. During the 1920s and 1930s she became the well known painter of ballet, circus and gypsy life.
She was awarded a Damehood in 1929, and was the first woman to be elected to full membership of the Royal Academy in 1936. Photographer: John Hammond, Download a large-print guide of the display.
Drawn from the RA’s Collection of paintings, drawings and sketchbooks, the show explores three distinct themes from her long working life – the countryside, the nude and scenes from the theatre, ballet and circus. Knight felt a kinship with female performers, whom she identified as ", Knight travelled to America in 1926, to join her husband who was working on a number of portraits for the Johns Hopkins Memorial Hospital in Baltimore. Knight’s liberal attitude was nevertheless shaped by her time, and she continued to freely use terms such as ‘. Catalogue entry Knight started painting in her teens in her home town of Nottingham to help support her family.
Her two volume autobiography Oil Paint and Grease Paint (1936) and The Magic of a Line (1965), though not great literature, provides one of the few first-hand accounts published of the community life of the artists in West Cornwall; the anecdotes from it are regularly rehearsed in the biographies of those who knew her. 51 x 51 cm.
750 mm x 590 mm.
The representations of gypsies in works such as ‘Ascot Finery’ strike me as somewhat wooden, lacking in individuality.
A press image of Knight using a rented ‘. The beautiful Ella was the subject of a number of portraits by both the Knights, most famously Laura’s ‘Self and Nude’ which has pride of place in the National Portrait Gallery in London. Oil on canvas 23½ x 29½ inches First known exhibition London: Alpine Club 1922. © Reproduced with the permission of The Estate of Dame Laura Knight DBE, RA, 2019. Part of the RA Collectionpencil on wove paper. Dawn (detail), 1925. © Reproduced with the permission of The Estate of Dame Laura Knight DBE, RA, 2019. Harold would never be drawn into discussing painting with his wife. Dame Laura Knight RA, Painter, printmaker, etcher and aquatint engraver, Likenesses of the Artist: Self Portrait (1913); Myself and Model (1913;it was the most expensive work exhibited with STISA during first quarter-century, when it was priced at £535 at the 1937 Bath show), Works include: Portrait of Phyllis Vipond Crocker (2 pencil sketches); Portrait of Bernard Walke; Interior of a Carpenter's Workshop (c1907); The Beach (1908); Men Working in a China Clay Pit; The China Clay Pit (1914); Morning, 'Bob' (1912); The Model (1914); The Bathing Party, Lamorna (1916); Penzance fair (1916); Drawn to the community [Two girls on a cliff] (c1917); Holiday Time (c1920); Carnival (1920); Bank holiday (1924); The Flax Gatherers; The Dressing Room (1924); The Mirror; Study of a circus horse; Gypsies at Ascot; Looking in the Glass (1930; Romanies at Epsom (1938); In the Harbour (c1940); The Coronation Route (1953); In the Coulisses (oil on panel, Falmouth); The Rock Pool (Messums 2010), Access to work in Cornwall: Penlee House, Penzance; Falmouth Art Gallery, Access elsewhere: Hereford Museum and Art Gallery; Manchester Art Gallery; Ayot St Lawrence (Shaw's Corner); Bethnal Green Musuem; Birmingham; Blackburn; Blackpool; Bolton; Bradford; Bristol; Bury; Canterbury; Cardiff; Coventry; Doncaster; Harrogate; Hereford; Hull; Imperial War Museum; Leeds; Leicester;Walker Gallery, Liverpool; Manchester; Manchester Whitworth Gallery; National Portrait Gallery; Newcastle; Newport; Norwich; Nottingham; Ashmolean, Oxford; Preston; Rochdale; Sheffield; Southport; Stoke; Tate; Worthing; Adelaide; Auckland; Brisbane; Cape Town; Dunedin; Johannesburg; Ottawa; Pietermaritzburg; Perth; Sydney; Wellington, Publications include: Oil Paint and Grease Paint (1936) and The Magic of a Line (1965), RWE Artists from Cornwall Exh 1992 Bristol, 1996: Falmouth Art Gallery Women Artists of Cornwall (Group).
Red and black chalk on paper.
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