Tuesday 19 April 2016

National Museum, Cardiff - miscellaneous

A final post on the Museum in Cardiff showing a selection of works that I found interesting.

Harold Gilman, The Kitchen, 19078-09 (oil on canvas)

Gilman frequently painted everyday domestic subjects. The cropped composition of this work gives the impression of a fleeting glimpse. He often painted figures turned away from the viewer, creating the sense of observing a private, intimate world.

Sylvia Gosse, The Seamstress, 1914 (oil on canvas)

The colours in this intimate interior painting are muted and subtle and the brushstrokes are short and broken. Gosse was excluded from the all-male Camden Town Group.

Harold Knight, The Green Book, (oil on canvas)

The checks on the wall and the jug of flowers contrast with the stripes of the bedspread and the woman's shirt. The woman appears to be unaware of the viewer's presence, a device derived from 17th Dutch genre scenes.

Edith Downing, Music (bronze)

Edith Downing was a Cardiff-born sculptor and a suffragette. She studied at the South Kensington schools and at the Slade School of Art. She was imprisoned on several occasions and was force-fed whilst on hunger strike at Holloway prison.

Dorothea Sharp, At the Seaside, (oil on canvas)

This seaside scene was probably painted at St Ives in Cornwall. Here Sharp catches reflections and ripples in the water with impressionistic brushstrokes and bright, contrasting colours. The cropped composition frames the group of children, absorbed in play.

Laura Knight, Motley, (tempera on canvas)

Motley places the viewer among the theatre audience. Knight produced many theatre and ballet scenes, though she generally concentrated on the intimacy of back-stage life. The spot-lit stage is depicted in light dry paint, in contrast to the blackness of the foreground, creating a heightened, unreal atmosphere.

Nicholas Homoky, 1977 (porcelain)

Kevin Sinnott, Running Away with the Hairdresser, 1995, (oil on canvas)

Rachel Kneebone, The Will to Proceed to the End of the Possible, 2014 (porcelain)

Emerging from torn and twisted porcelain are body parts. The cracks left by the artist remind us of the risks involved in firing porcelain, and perhaps, of our own vulnerability as humans.

Ernest Zobole, Penrhys, 1951, (oil on board)

 Lucien Pissaro, Cefn Bryn, Gower, 1933 (oil on canvas)

Edward Morland Lewis, Camarthen Bay, (oil on board)

Kyffin Williams, Storm, Porth Cwyfan, 1995, (oil on canvas)

looking closer at those brushstrokes

Kyffin Williams, Snow on Siabod, 1968, (oil on canvas)

Gordon Baldwin (porcelain)

a different view.

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