William Rothenstein

Sir William Rothenstein (29 January 1872 – 14 February 1945) was an English painter, printmaker, draughtsman, lecturer, and writer on art. Emerging during the early 1890s, Rothenstein continued to make art right up until his death in the mid-1940s. Though he covered many subjects – ranging from landscapes in France to representations of Jewish synagogues in London – he is perhaps best known for his work as a war artist in both world wars, his portraits, and his popular memoirs, written in the 1930s. More than two hundred of Rothenstein's portraits of famous people can be found in the National Portrait Gallery collection. The Tate Gallery also holds a large collection of his paintings, prints and drawings. Rothenstein served as Principal at the Royal College of Art from 1920 to 1935. He was knighted in 1931 for his services to art. In March 2015 'From Bradford to Benares: the Art of Sir William Rothenstein', the first major exhibition of Rothenstein's work for over forty years, opened at Bradford's Cartwright Hall Gallery, touring to the Ben Uri in London later that year.

Sir William Rothenstein
William Rothenstein photo by George Charles Beresford 1920
A portrait of William Rothenstein taken by George Charles Beresford in 1920
Born29 January 1872
Died14 February 1945 (aged 73)
London, England
EducationBradford Grammar School, Slade School of Fine Art
Académie Julian
Known forPainting
Spouse(s)Alice Knewstub

Personal life

William Rothenstein photo by George Charles Beresford 1902
Sir William Rothenstein, photo by George Charles Beresford, 1902

William Rothenstein was born into a German-Jewish family in Bradford, West Riding of Yorkshire where he was educated at Bradford Grammar School. His father, Moritz, emigrated from Germany in 1859 to work in Bradford's burgeoning textile industry. Soon afterwards he married Bertha Dux and they had six children, of which William was the fifth.[1]

William's two brothers, Charles and Albert, were also heavily involved in the arts. Charles (1866–1927), who followed his father into the wool trade, was an important collector – and left his entire collection to Manchester Art Gallery in 1925.[2] Albert (1881–1953) was a painter, illustrator and costume designer.[3] Both brothers changed their surname to Rutherston during the First World War.[1]

He married Alice Knewstub in 1899[1] with whom he had four children: John, Betty, Rachel and Michael. John Rothenstein later gained fame as an art historian and art administrator (he was Director of the Tate Gallery from 1938 to 1964 and was knighted in 1952).[4] Michael Rothenstein was a talented printmaker.[5]


Rothenstein left Bradford Grammar School at the age of sixteen to study at the Slade School of Art, London (1888–93), where he was taught by Alphonse Legros, and the Académie Julian in Paris (1889–1893), where he met and was encouraged by James McNeill Whistler, Edgar Degas and Henri Toulouse-Lautrec.[6] While in Paris he also befriended the Anglo-Australian artist Charles Conder, with whom he shared a studio in Montmartre.[1]



Auguste Rodin par William Rothenstein
Rothenstein's portrait drawing of Auguste Rodin

In 1893 Rothenstein returned to Britain to work on "Oxford Characters" a series of lithographic portraits, eventually published in 1896[7] Other portrait collections by the artist include English Portraits (1898), Twelve Portraits (1929) and Contemporaries (1937).[1] In Oxford he met and became a close friend of the caricaturist and parodist Max Beerbohm, who later immortalised him in the short story Enoch Soames (1919). During the 1890s Rothenstein exhibited with the New English Art Club and contributed drawings to The Yellow Book and The Savoy.

In 1898-9 he co-founded the Carfax Gallery (or Carfax & Co) in St. James' Piccadilly with John Fothergill (later innkeeper of the Spread Eagle in Thame).[8] During its early years the gallery was closely associated with such artists as Charles Conder, Philip Wilson Steer, Charles Ricketts and Augustus John. It also exhibited the work of Auguste Rodin, whose growing reputation in England owed much to Rothenstein's friendship.[8] Rothenstein's role as artistic manager of the gallery was abandoned in 1901, whereupon the firm came under the management of his close friend Robert Ross. Ross left in 1908, leaving the gallery in the hands of longtime financial manager Arthur Clifton. Under Clifton the gallery was the home for all three exhibitions of the Camden Town Group, led by Rothenstein's friend and close contemporary Walter Sickert.[9]

In 1900 Rothenstein won a silver medal for his painting The Doll's House at the Exposition Universelle.[8][10] This painting continues to be one of his best-known and critically acclaimed works, and was the subject of a recent in-depth study published by the Tate Gallery.[11]

The style and subject of Rothenstein's paintings varies, though certain themes reappear, in particular an interest in 'weighty' or 'essential' subjects tackled in a restrained manner. Good examples include Parting at Morning (1891), Mother and Child (1903) and Jews Mourning at a Synagogue (1907) – all of which are owned by the Tate Gallery.[8][12][13][14]

Between 1902 and 1912 Rothenstein lived in Hampstead, London, where his social circle included such names as H. G. Wells, Joseph Conrad and the artist Augustus John. Amongst the young artists to visit Rothenstein in Hampstead were Wyndham Lewis, Mark Gertler and Paul Nash.[8] During this period Rothenstein worked on a series of important paintings in the predominantly Jewish East End of London,[8] some of which were included in the influential 1906 exhibition of Jewish Art and Antiquaries at the Whitechapel Gallery.[8]

Another feature of this period are the celebrated interiors he painted, the most famous of which is The Browning Readers (1900), now owned by Cartwright Hall gallery, Bradford. Most of Rothenstein's interiors feature members of his family, especially his wife Alice. Reminiscent of Dutch painting (particularly Vermeer and Rembrandt), they are similar in style to contemporary works by William Orpen, who became Rothenstein's brother-in-law in 1901, marrying Alice's sister Grace.[8][15] Other notable interiors include Spring, The Morning Room (c.1910) and Mother and Child, Candlight (c.1909).[16][17]

Rothenstein maintained a lifelong fascination for Indian sculpture and painting, and in 1910 set out on a seminal tour of the subcontinent's major artistic and religious sites. This began with a visit to the ancient Buddhist caves of Ajanta, where he observed Lady Christiana Herringham and Nandalal Bose making watercolour copies of the ancient frescoes. He subsequently contributed a chapter on their importance to the published edition. The trip ended with a stay in Calcutta, where he witnessed the attempts of Abanindranath Tagore to revive the techniques and aesthetics of traditional Indian painting.[18]

He was a member of the International Society of Sculptors, Painters and Gravers.[8]

Royal College of Art

Rothenstein was principal of the Royal College of Art from 1920 to 1935,[6] where he encouraged figures including Edward Burra, Evelyn Dunbar, U Ba Nyan and Henry Moore. Moore was later to write that Rothenstein "gave me the feeling that there was no barrier, no limit to what a young provincial student could get to be and do".[19]


Rothenstein wrote several critical books and pamphlets, including Goya (1900; the first English monograph on the artist), A Plea for a Wider Use of Artists & Craftsmen (1916) and Whither Painting (1932). During the 1930s he published three volumes of memoirs: Men and Memories, Vol I and II and Since Fifty.[1] Men and Memories Volume I includes anecdotes about Oscar Wilde and many other friends of Rothenstein's, including Max Beerbohm, James Whistler, Paul Verlaine, Edgar Degas, and John Singer Sargent.[20]


Rothenstein was knighted in 1931. Rabindranath Tagore dedicated his Nobel Prize winner poetry collection Gitanjali to William Rothenstein.[21]

In 2011 the BBC and the Public Catalogue Foundation began cataloguing all of his paintings in public ownership online.[22]


  1. ^ a b c d e f Robert Speaight (1962). William Rothenstein: the Portrait of an Artist in his Time. Eyre & Spottiswoode.
  2. ^ "Manchester City Galleries – History of the Collection". Manchestergalleries.org. 22 June 2006. Retrieved 19 January 2014.
  3. ^ "Albert Rutherston". Oxforddnb.com. Retrieved 19 January 2014.
  4. ^ Edward Chaney, "The Vasari of British Art: Sir John Rothenstein... and the Importance of Wyndham Lewis", Apollo, vol. CXXXII, no. 345 (November 1990), pp. 322–26
  5. ^ Nicholas Usherwood, 'Rothenstein, (William) Michael Francis (1908–1993)', Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 30 January 2014
  6. ^ a b "National Portrait Gallery – Person- Sir William Rothenstein". National Portrait Gallery. Retrieved 5 February 2009.
  7. ^ William Rothenstein. doi:10.1093/ref:odnb/35842.
  8. ^ a b c d e f g h i Samual Shaw (August 2010). "'Equivocal Positions': The Influence of William Rothenstein, c. 1890–1910" (PDF). University of York. Retrieved 25 October 2015.
  9. ^ The Doll's House Tate Etc..
  10. ^ Samuel Shaw (ed.), In Focus: The Doll’s House 1899–1900 by William Rothenstein, Tate Research Publication, 2016, accessed 13 May 2016
  11. ^ Terry Riggs (December 1997). "Parting at Morning (1891)". Tate Etc. Retrieved 25 October 2015.
  12. ^ Terry Riggs (January 1998). "Mother and Child (1903)". Tate Etc. Retrieved 25 October 2015.
  13. ^ Terry Riggs (1998). "Jews Mourning at a Synagogue (1907)". Tate Etc. Retrieved 25 October 2015.
  14. ^ The Browning Readers (1900). Your Paintings. BBC.
  15. ^ Spring, The Morning Room. (c.1910) Your Paintings. BBC.
  16. ^ Mother and Child, Candlight (c.1909) Your Paintings. BBC.
  17. ^ Rupert Richard Arrowsmith, "An Indian Renascence and the rise of global modernism: William Rothenstein in India, 1910–11", The Burlington Magazine, vol.152 no.1285 (April 2010), pp.228–235.
  18. ^ Alan Wilkinson, ed. "Henry Moore: Writings and Conversation" University of California Press, 2002. p.47
  19. ^ Oscar Wilde Selected Letters, ed. Hart-Davis, R. Oxford, 1979, p105
  20. ^ Gitanjali by Rabindranath Tagore published by Macmillan
  21. ^ William Rothenstein. Your Paintings. BBC.

Further reading

  • Lago, Mary, and Karl Beckson, eds. Max and Will: Max Beerbohm and William Rothenstein, their friendship and letters, 1893–1945. (1975).
  • Lago, Mary. Imperfect Encounter: Letters of William Rothenstein and Rabindranath Tagore (1972)
  • Rothenstein, John. Summer's Lease: Autobiography 1901–1938 (1965)
  • Rothenstein, William. Men and Memories: Recollections, Vol. I (1872-1900) and Vol. II (1900-1922) (1931 and 1932, respectively)
  • Rothenstein, William. Since Fifty: Men and Memories, 1922-1938 (1939)
  • Rothenstein, William. Men and Memories: Recollections, 1872-1938, Abridged with Introduction and Notes by Mary Lago (1978)
  • Rothenstein, William, Twenty-Four Portraits: With Critical Appreciations by Various Hands, George Allen & Unwin Ltd., (1920)
  • Speaight, R. William Rothenstein: The Portrait of an Artist in his Time (1962)
  • MacDougall, Sarah, ed., William Rothenstein and His Circle, Ben Uri Gallery and Museum (2106)

External links

A Caprice

A Caprice is the only known oil painting by English artist Aubrey Beardsley, made c.1894. It has been held by the Tate Gallery since 1923. Unusually, the work is painted with two different images, one on each side of the canvas. The unfinished surreal images both have covert sexual imagery.

The painting on the front of the canvas, A Caprice, is believed to have been painted first. It depicts a scene in a theatre. A woman in a black dress with green details is being led by a short black-faced person in a red costume towards an arched doorway opening onto an auditorium. The woman has a white feather in her black hat, and is holding a white muff; her pallid white face is shown in profile, with prominent red lips and cheeks.

The painting seems to be inspired by the first of Beardsley's three images depicting "The Comedy-Ballet of Marionnettes, as performed by the troupe of the Theatre-Impossible, posed in three drawings", which were published in the second volume of the avant-garde art journal The Yellow Book in July 1894. In the illustration, drapes hanging in the arched doorway give it a phallic appearance. In the painting, the red-clothed dwarf with black face may represent female genitalia.

On the reverse is a painting known as Masked Woman with a White Mouse. The subject, a woman in a black face mask, is similarly wearing a dark dress, and made up with white skin with red lips and a black beauty spot, and black hair. Incongruously, a white mouse is passing on a flat surface before her, as if along the edge of a balcony, but she pays it no attention. The painting occupies the slightly smaller space within the stretcher, which frames the composition. The mouse is commonly interpreted a Freudian symbol for the penis, although some commentators have noted that Freud's psychoanalytical work was not known in London in 1894.

A Caprice measures 30 in × 25 in (76 cm × 64 cm); Masked Woman with a White Mouse measures 25.25 in × 20.25 in (64.1 cm × 51.4 cm). The paintings may be influenced by William Rothenstein, who also contributed to The Yellow Book and with whom Beardsley shared a studio. The paintings may also be influenced by works of Pietro Longhi depicting the Venetian Carnival.

Neither painting was finished, and the canvas was abandoned by Beardsley in 1895 and left behind at 114 Cambridge Street, Pimlico, when his lease ended. It was found by the new tenant, Mrs Pugh, along with many drawings which she destroyed. It was bought by R.A. Walker in 1920; he gave it the title A Caprice, and sold it to the Tate in 1923.

A Defence of Cosmetics

A Defence of Cosmetics is an essay by caricaturist and parodist Max Beerbohm and published in the first edition of The Yellow Book in April 1894. Aged 21 when the essay was published, it established his reputation. It later appeared in his first book, The Works of Max Beerbohm (1896) as The Pervasion of Rouge.

Written while still an undergraduate at Merton College, Oxford, Beerbohm intended that his essay A Peep into the Past, a satire on Oscar Wilde, should be published in the first number of The Yellow Book, but it was held over to make way for another essay, A Defence of Cosmetics, which appeared in that journal in April 1894. A Peep into the Past was possibly withheld because of the impending Wilde scandal. When it was published, A Defence of Cosmetics was singled out for vilification as "decadent", and subsequent issues of The Yellow Book containing his work were condemned by the establishment.

Beerbohm contended that the use of make-up by women, and some men, was becoming the norm in the 1890s, and that the mask was becoming more important than the face. His essay claimed that "most women are not as young as they are painted... Cosmetics are not going to be a mere prosaic remedy for age or plainness, but all ladies and girls will come to love them...the season of the unsophisticated is gone by, and the young girl's final extinction beneath the rising tides of cosmetics will leave no gap in life and will rob art of nothing... Artifice, sweetest exile, is come into her kingdom." Sun-tan make-up was being used by "countless gentlemen who walk about town in the time of its desertion from August to October, artificially bronzed, as though they were fresh from the moors or the Solent. This, I conceive, is done for purely social reasons." The essay, an ironic defence of Decadence, created a sensation when it appeared in 1894. Delighted with the essay, William Rothenstein wrote to Beerbohm, "...all my friends chuckled over your dear cosmetics as they read & reread them. Oscar, solitary exception, was moved to a torrent of tears, so strong was his emotion". To Lord Alfred Douglas, Oscar Wilde wrote: "Max on Cosmetics in the Yellow Book is wonderful: enough style for a large school, and all very precious and thought-out: quite delightfully wrong and fascinating". Wilde, appreciating Beerbohm's wise but ironic manner, commented that "The gods bestowed on Max the gift of perpetual old age".

British official war artists

British official war artists were a select group of artists who were employed on contract, or commissioned to produce specific works during the First World War, the Second World War and select military actions in the post-war period. Official war artists have been appointed by governments for information or propaganda purposes and to record events on the battlefield; but there are many other types of war artist.

A war artist will have depicted some aspect of war through art; this might be a pictorial record or it might commemorate how war shapes lives. A war artist creates a visual account of war by showing its impact as men and women are shown waiting, preparing, fighting, suffering and celebrating.The works produced by war artists illustrate and record many aspects of war, and the individual's experience of war, whether allied or enemy, service or civilian, military or political, social or cultural. The rôle of the artist and his work embraces the causes, course and consequences of conflict and it has an essentially educational purpose.

Christiana Herringham

Christiana Jane Herringham (Lady Herringham) (1852–1929) was a British artist, copyist, and art patron. She is noted for her part in establishing the National Art Collections Fund in 1903 to help preserve Britain's artistic heritage.

She was the daughter of Thomas Wilde Powell, a wealthy patron of the Arts and Crafts Movement. In 1880 she married the physician Wilmot Herringham, (later Sir Wilmot Herringham) with whom she had two sons. She was committed to women's suffrage from 1889 onwards.

A talented artist and copyist of Old Masters, she dedicated herself to the revival of tempera painting, translating Cennino Cennini's 15th century treatise Il libro dell' arte o trattato della pittura in 1899 and founding the Society of Painters in Tempera in 1901.

In 1910, Herringham became involved in the promotion of Indian Art in the UK through her friendship with William Rothenstein. Ernest Havell and Rothenstein formed the India Society and Herringham joined the committee. She was the only female committee member at the time. The Society would often meet at her home at 40 Wimpole Street in London, which was later destroyed during The Blitz. Her husband became Chair of the India Society committee in 1914.

Following the formation of the Society, Herringham returned to the Ajanta caves with Rothenstein. She set up a camp with the help of the Nizam of Hyderabad, and with several artists (including Dorothy Larcher) set about copying the frescoes. It should also be noted that Herringham was a committed suffragette. In 1914, she returned to the UK but was beset by ill health until her death in Sussex in 1929.

As part of her work for the India Society, she travelled to India in 1906 and 1911 and made copies of the Buddhist cave paintings at Ajanta near Hyderabad, which were deteriorating badly. Among the visitors who observed her work was William Rothenstein. An exhibition of the copies opened at the Crystal Palace in London in June 1911. Herringham, however, had begun to suffer from delusions of pursuit and persecution and was admitted to an asylum. She spent the rest of her life in mental institutions.

Her biographer Mary Lago suggests Christiana Herringham may have been the inspiration for Mrs Moore in E.M. Forster's novel A Passage to India.

Constance Beerbohm

Constance Mary Beerbohm (1856–8 January 1939), was the oldest daughter of Julius Ewald Edward Beerbohm (1811–92), of Dutch, Lithuanian, and German origin, who had come to England in about 1830 and set up as a prosperous corn merchant. He married an Englishwoman, Constantia Draper; and the couple had four children. Constance Beerbohm's brother was the renowned actor-manager Herbert Beerbohm Tree; another brother was the engineer, author and explorer Julius Beerbohm; a younger half-brother was the caricaturist and parodist Max Beerbohm.Constance was the only female member of Julius Beerbohm's first family. She was described as plain, unselfish and very tender-hearted. Eliza Beerbohm, who was her stepmother as well as her aunt, made it quite clear that she preferred her own daughters; and, to Constance's dismay when she had grown up, she had to leave the family home and set up on her own. One afternoon, she called on her family, hiding a parcel containing her belongings in the bushes in the drive. Staying until nearly supper-time, her stepmother said, "You had better stay to supper". After supper, Constance lingered until nearly bedtime: "You had better stay the night", said her stepmother. Constance fetched her parcel from the bushes and stayed for the rest of her life, taking on the practical management of the household and helping to bring up her five younger half-siblings, including Max Beerbohm.

Constance added to the family's income by writing comedies for amateur acting societies and articles for the humbler kind of women's journals on subjects like cooking, of which she knew little, and on the Royal Family, about which she knew even less. As a writer Beerbohm contributed articles to Strand Magazine, The Woman at Home, and Cassell's Magazine among others. Her book, A Little Book of Plays for Professional and Amateur Actors, was published in 1897.As a member of the famous Beerbohm family of actors and writers, she corresponded with many of the eminent men of her day, including Clement Scott and William Rothenstein.

Damaris Evans

Damaris Alice Turle Evans (born 18 March 1975) is a British fashion designer and creative director and owner of demi-couture lingerie labels Damaris and Mimi Holliday.

Duffy Ayers

Elizabeth Ayers (née Fitzgerald; 19 September 1915 – 10 November 2017), known as Duffy Ayers, was an English portrait painter. She was one of a pair of identical twin girls born to her American mother and Irish father, and has been known for most of her life by the nickname "Duffy".She trained at the Central School of Art in London, and later married the painter and printmaker Michael Rothenstein RA, son of Sir William Rothenstein. In 1941 the couple moved to Chapel Cottage in the Essex village of Great Bardfield, and relocated the next year to Ethel House in the centre of the village. Duffy and Michael were important members of the famous art community resident in the north Essex village during the post-war period. At Great Bardfield she was mainly known as Duffy Rothenstein, although she still painted under the name Betty Fitzgerald. The Rothensteins, along with other village artists, organised a series of large open-house exhibitions that garnered much press attention during the 1950s. During this time Duffy painted mostly portraits, and exhibited some of her work at the 1955 Great Bardfield Artists’ summer exhibition.

By the end of 1955 her marriage to Michael Rothenstein had dissolved, and she left Great Bardfield. She settled in Bloomsbury, London, and married the graphic artist, Eric Ayers (1921 - 2001). After her second marriage she painted under the name of Duffy Ayers, and regularly exhibited at the Royal Academy. One of her oil portraits, "The Arrival" (1993) is in the North West Essex collection of the Fry Art Gallery, Saffron Walden.

Ayers latterly lived in London, and had two children from her first marriage; Julian Rothenstein, owner of Redstone Press, and Anne Rothenstein, artist and wife of film-director Stephen Frears. She turned 100 in September 2015 and died in November 2017 at the age of 102.

Enoch Soames

"Enoch Soames" is the title of a short story by the British writer Max Beerbohm. Enoch Soames is also the name of the main character.

The piece was originally published in the May 1916 edition of The Century Magazine, and was later included in Beerbohm's anthology, Seven Men (1919). It is a comic tragedy, involving elements of both fantasy and science fiction; well known for its clever and humorous use of the concepts of time travel and pacts with the Devil.

The author uses a complex combination of fact and fiction to create a sense of realism. Although Mr. Soames is a fictional character, Beerbohm includes himself in the story, which he also narrates; and writes it as the reminiscences of a series of actual events which he witnessed and participated in as a younger man. The work also contains a written portrait of the real-life artist William Rothenstein, as well as countless references to contemporary-to-1897 events and places. In addition, Rothenstein actually drew the "portrait" of Soames which is mentioned in the text; although the work was probably created closer to the date of publication, than to the 1895-date given in the story. Beerbohm himself also drew a cartoon-sketch of Soames, and the two pictures are recognisably of the same "person".

Frank Runacres

Frank Runacres (2 June 1904 - 1974) was an English painter who worked in both watercolours and oil. He studied at Saint Martin's School of Art, at the Slade School of Fine Arts, and at the Royal College of Art under Sir William Rothenstein between 1930 and 1933.He taught at the Hornsey College of Art.

George Hamilton Constantine

George Hamilton Constantine (1878–1967) was a British painter of landscapes with figures and seascapes.

Born in 1878 in Sheffield, he was the son of Francis Alfred Constantine, a saw maker.

In the 1901 Census at age 24 he is living at his parents home, 113 Crookes Road, Ecclesal, Sheffield. In this census he is listed as an artist and sculpture. His uncle William Hattersley paid for his education at Sheffield School of Art. He then studied the restoration of pictures at the Courtauld Institute, and was involved in the conservation of painted ceilings at Chatsworth House in Derbyshire. Constantine was assistant to Sir William Rothenstein in the 1930s, and became Director of Graves Art Gallery in Sheffield from 1938 until the 1950s.

Constantine is best known for his watercolours of landscapes, seashore scenes and marine paintings, and in particular views of the Yorkshire and Lancashire coasts, and scenes of Cornwall. He is a popular artist now widely collected along with others of the Sheffield School. His paintings almost always have horses in, often the same pair, who lived on the family farm near Sheffield.

A member of the Sheffield Society of Artists, he exhibited at the Royal Academy, Carlisle Academy and Athenaeum, Dumfries Gallery, Abbot Hall in Kendal, Glasgow Institute of Fine Arts, Lake Artists’ Society, Walker Art Gallery, Manchester Art Gallery, Yorkshire Galleries and Lancashire Galleries including Lancaster.

List of English artworks in the National Museum of Serbia

English Art (British Art) Collection in National Museum of Serbia includes painters usually from the late 19th century, mostly impressionist and post-impressionist. The vast majority of the collection was donated by Prince Paul of Yugoslavia before World War II.The collection has 64 paintings and watercolors and 51 graphics and etchings. They include painters such as Alfred Sisley, Charles Conder, Philip Wilson Steer, Walter Sickert, Hermione Hammond, James Bolivar Manson, Wyndham Lewis, Roger Fry, Duncan Grant, Vanessa Bell and Rowland Fisher, and graphic works from William Hogarth etc.

George Morland,Stable with Boars

Clarkson Frederick Stanfield, Sea with Fishermans Sailboats (1862)

Frank Holl, Return from Walking (1877)

Alfred Sisley, Barges on the Loing

Charles Conder, On the beach

Philip Wilson Steer, Forest

Ethel Walker, Sea

Charles Sims (painter), Amor and Woman (watercolor), After Bath (tempera)

Cedric Morris, North African Landscape

Walter Sickert, Street in Dieppe, Dieppe

Hermione Hammond, Trafalgar Square (watercolor)

Wilfrid de Glehn, Architecture of One Church

George Clausen, A summer morning

George Frederic Watts, Lady Garvagh

John Lavery, Fireplace

Gwen John, Interior with White Table

James Bolivar Manson, Still Life with Flowers, View from Houton Sussex

Christopher Wood (English painter), Still Life with White Vase and Flowers

Henry Lamb, Square

Augustus John, Infaint portrait Beatrice

Duncan Grant, Sunny Countryside, Haystacks

William Rothenstein, Laurence of Arabia Portrait 1921 (canvas)

Roger Fry, Nude on the Spring 1921

Henry Tonks, Man and Woman on Yarn (watercolor)

Vanessa Bell, Roofs

John Nash (artist), Ships in Port, Floweres on the Window

John George Brown, Still Life with Flowers

Graham Sutherland,Landscape from South Wales

Rowland Fisher, Mill

Margaret Barker (artist)

Margaret Dorothy Baker (6 June 1907 - 2003) was a British artist.

She was born in Sydenham, South London, on 6 June 1907. She was awarded a scholarship in 1925 to Royal College of Art where she was under the tutelage of William Rothenstein and Randolph Schwabe. In school she submitted her work to the New English Art Club for the Prix de Rome. After school, 1929, she taught art at girls schools near Birmingham until she got married to Kenneth Pringle, a dental surgen in 1938. They lived in central London until the blitz. Margaret and her son escape to the Devon Coast from the bombing to return after the war. Barker mostly produced landscapes but also painted friends and imaginative portraits. After their son died in the 1960s Barker and her husband moved to North Kent where Margaret's painting trailed off only producing a few watercolor landscapes. Kenneth Pringle died March 1983 returning Margaret to Sydenham.Her work is in the permanent collection of the Tate Gallery.

Max Beerbohm

Sir Henry Maximilian "Max" Beerbohm (24 August 1872 – 20 May 1956) was an English essayist, parodist, and caricaturist under the signature Max. He first became known in the 1890s as a dandy and a humorist. He was the drama critic for the Saturday Review from 1898 until 1910, when he relocated to Rapallo, Italy. In his later years he was popular for his occasional radio broadcasts. Among his best-known works is his only novel, Zuleika Dobson, published in 1911. His caricatures, drawn usually in pen or pencil with muted watercolour tinting, are in many public collections.

Middle years of Rabindranath Tagore

The middle years of Rabindranath Tagore were spent primarily in Santiniketan, although they included extensive travels throughout Asia, Europe, and Japan.

Oakridge, Gloucestershire

Oakridge is a village in Gloucestershire, England. The parish church is St. Bartholomew's Church. It is just on the outskirts of Stroud, Gloucestershire.

Oakridge consists of five hamlets; Oakridge Lynch, Far Oakridge, Waterlane, Bournes Green, and Tunley. Within Oakridge Lynch can be found the parish church of St. Bartholomew's, the nearby Oakridge Parochial School primary, the village Shop and Post Office, The Butchers Arms pub, and the Village Hall. The Butchers Arms is an 18th-century building with stone walls and oak beamed ceilings.

The Annual Oakridge Village Show is held on the first Saturday in September at the local recreation ground.

Percy Hague Jowett

Percy Hague Jowett (1882–1955) was a British artist and arts administrator, principal of the Royal College of Art.

Jowett was born in Halifax, Yorkshire in 1882. He studied art at Leeds College of Art and London's Royal College of Art.In 1927, he became head of Chelsea School of Art, and in 1935, principal of the Royal College of Art, succeeding William Rothenstein, and went on to give the sculptor Henry Moore his first job. During World War II, Jowett served as a committee member with the War Artists' Advisory Committee. He retired from the RCA in 1948.

The Essential Tagore

The Essential Tagore is the largest collection of Rabindranath Tagore's works available in English. It was published by Harvard University Press in the United States and Visva-Bharati University in India to mark the 150th anniversary of Tagore’s birth. Dr Fakrul Alam and Radha Chakrabarthy edited the anthology. Among the notable contributors who translated Tagore's works for this anthology are Amitav Ghosh, Amit Chaudhuri, Sunetra Gupta, Syed Manzoorul Islam, and Kaiser Haq. Martha Nussbaum, a philosopher, writer and critic proposed the book as the 'Book of the Year' in the New Statesman published on November 21, 2011.The anthology is around eight hundred pages long, divided into ten sections, each devoted to a different facet of Tagore’s achievement. In this anthology, the editors endeavored to represent his extraordinary achievements in ten genres: poetry, songs, autobiographical works, letters, travel writings, prose, novels, short stories, humorous pieces, and plays. Most of the translations were done in modern contemporary English. Besides the new translations, it includes a sampling of works originally composed in English, Tagore's translations of his own works.

The World of William Clissold

The World of William Clissold is a 1926 novel by H. G. Wells published initially in three volumes. The first volume was published in September to coincide with Wells's sixtieth birthday, and the second and third volumes followed at monthly intervals.

William Bruce Ellis Ranken

William Bruce Ellis Ranken (1881–1941) was a British artist and Edwardian aesthete. He was born in Edinburgh, Scotland, to Robert Burk Ranken, a wealthy and successful lawyer, and his wife Mary. He attended Eton College and then proceeded to the Slade School of Art, under the tutelage of Henry Tonks. A fellow student was the actor Ernest Thesiger, who became a lifelong friend; he was painted by Ranken in 1918, and married Ranken's sister Janette Ranken in 1917.Ranken's first exhibition in 1904 at the Carfax Gallery (managed by John Fothergill and William Rothenstein) in London was well received by artists and art critics. He befriended Wilfrid Gabriel de Glehn and John Singer Sargent. At the outbreak of World War I, Ranken was living at his studio in Chelsea, a short distance from Sargent's studio, with whom he may have ventured to America during the war years.

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