More views of rolling chalk hills in the south-east of England, here from Edward Stott, Spencer Gore, Paul Nash, Eric Ravilious, and others.
Gore
Paintings by Walter Sickert and Spencer Gore of the inside of music halls between 1888-1914, where ordinary people went for entertainment.
A grand castle kitchen, the element fire, Vermeer’s milkmaid, a witch’s kitchen for Faust, a rotund cardinal tasting the sauce, and in a humble apartment in London.
First popular in the Dutch Golden Age, paintings of interiors enjoyed success during the 19th century, when they were favourites of the avant garde.
Played by warriors including Paris of Troy and Achilles, also by Saint Cecilia, angels, and a siren. And with only one string left, in Watts’ allegory of Hope.
In the early 20th century, painters started using intense colours, often raw from the tube, and those shifted to give green flesh and blue horses.
Main themes of the group include views of everyday London, its music halls, mundane domestic interiors, and inevitable portraits.
A friend of Spencer Gore and Charles Ginner, he painted interiors, portraits, and landscapes, which were originally made in front of the motif.
In the latter half of 1912, his style became overly Fauvist and was also influenced by Cubism. A move back to London brought a reversion, though.
Son of the first Wimbledon tennis champion, he developed a Post-Impressionist style in his paintings from 1907 to the time of his marriage in early 1912.
The Eclectic Light Company 