Laura Knight at the NPG

This is Laura Knight’s third appearance in a post here within a year. A touring exhibition of her landscapes, in the open air, was followed by Summer in February, a film set in Cornwall (SW England) before the First World War among the Newlyn group of artists which included Laura and her husband. Now the National Portrait Gallery in London has put on a small show of her portraits.

Almost the first painting in the exhibition is from her Cornish period, Rose and Gold (1914, above). Unexpectedly it had links to the last exhibition posted about here, A Crisis of Brilliance at Dulwich. Firstly, the painting probably shows the extent of the influence on Knight’s style of the Roger Fry Post-Impressionist exhibitions whose impact is so evident in A Crisis of Brilliance. Secondly, the sitter for Rose and Gold was the artist’s model, Dolly Henry, who was shot dead shortly after the picture was finished by her lover, John Currie. He then committed suicide. A Slade student, one of his paintings, Some Later Primitives and Madame Tiscaron (1912), is in the Dulwich show. Fans of Summer in February will probably like Lamorna Birch and His Daughters (1916, finished in 1933, below).

 

After Cornwall, the exhibition is grouped into areas which reflect Knight’s inter-war interests: theatre and ballet, (the concert pianist, Ethel Bartlett (1926) in the poster above) and gypsies and circuses. Another pre-war section, Baltimore, consists of paintings and drawings of black Americans made in 1927, when she and her husband worked in the USA. Between 1942 and 1945 she worked on commissions for the War Artists Advisory Committee (see A Balloon Site, Coventry (1943) in the earlier post on the landscape exhibition). I was pleased to see RUSI’s Corporal Elspeth Henderson and Sergeant Helen Turner (1941, left) again. The Imperial War Museum’s The Nuremburg Trial (1946) is doubling as a portrait after its outing as a landscape (again, earlier post).

The exhibition ends with a selection of Knight’s portraits, often commissioned, which demonstrate her skill as a figurative painter (perhaps not at its best in the case of George Bernard Shaw (1933)). That facility was matched by her lack of interest in modernism and possibly helps explain the lack of interest in her work after her death in 1970. It is surprising, given her fight for recognition as a woman artist – the first modern woman RA – and her enthusiasm for portraying high-achieving women, that she never seems to have been regarded as an icon by feminists. Brian Sewell, who disliked this exhibition, calls her a “Very much the “anything you can do I can do better” sort of woman”, and describes at some length how little her work was fetching shortly after her death. Although he has little time for most of the works in the show, he ends:

That I quite liked Laura Knight seriously affects my view of this exhibition. I could have put together a show of paintings — her best in all her genres — that would not have disgraced her; it would not have been truthful, for it would have eliminated all the dross, but it would have been far more entertaining for the visitor to whom she is a stranger, and it would have honoured her. This shoddy little show is a disgrace.

He also comments:

Restricted to her portraits, this [exhibition] unwittingly demonstrates the damage that can be done to a forgotten painter’s reputation when only a single branch of a lifetime’s work is plucked from obscurity like this, and I am inclined to argue that the NPG has done Laura Knight a mortal damage, that no one to whom her name and work are new will ever want to see more of it.

Perhaps because of having seen the landscapes last year as well as these portraits, I am looking forward unreservedly to the Knight retrospective that Dulwich Picture Gallery are planning for 2015. Who knows, the curator may now be seeking Mr Sewell’s advice.

Laura Knight Portraits continues at the NPG until 13 October and will subsequently tour to the Laing Art Gallery, Newcastle (2 November 2013 – 16 February 2014) and Plymouth City Museum and Art Gallery (1 March – 10 May 2014) (SW England).

UPDATE 11 SEPTEMBER

Andrew Lambirth in the Spectator on 7 September took a much more sympathetic view of this exhibition than Sewell.

Christopher Menaul’s ‘Summer in February’

Christopher Menaul has been directing drama series and films for TV for over 40 years but Summer in February seems to be his first film for commercial release. I mentioned it last November in a post about the Laura Knight exhibition in Worcester. The film, “based on a true story”, is set in Cornwall (SW England) in 1913 and was scripted by Jonathan Smith from his novel of the same title about a love triangle among the bohemian community of artists working at that time in Lamorna. In the film Laura (Hattie Morahan) and her husband Harold (Shaun Dingwall) are onlookers as the young emerging artistic talent of the day, AJ Munnings (Dominic Cooper), and the much more conventional local land agent and army officer, Gilbert Evans (Dan Stevens), vie for the affections of Florence Carter-Wood (Emily Browning).

Summer in February is handsomely filmed against some of the finest coastal scenery in Europe and the period settings are as picturesque as some of the works in the Artists in Cornwall show earlier this year, or those to be found at the Penlee House Gallery in Penzance. However, I wasn’t totally persuaded by its characters’ behaviour, although well-acted. Would Laura and Harold have skinny-dipped in quite so unembarrassed a fashion in front of Gilbert and Florence? [See comments below] Would AJ have used f-words in front of women in 1913, Menaul and Cooper seemingly having decided to portray him as a YBA du temps? Did Munnings, notorious for his speech against modernism in 1949, have such a down on Picasso as early as 1913 – the latter’s style in AJ’s parody seems to belong to a later period? A useful, if not impartial, source of information about Munnings is provided by the Castle House Trust’s website. Although there is no mention of his first wife, their biography does point out that “he spent the first three years of the 1914-18 war mainly in Lamorna” and that “It was from Lamorna that he made his excursions to Hampshire where he had discovered, in the gypsy hop pickers, a wealth of painting material.”

Dr James Fox, in his recently repeated BBC4 series, British Masters, put Munnings into context and drew attention to his considerable skill as an artist. Actors aren’t expected to possess such skills of course, but have to look convincing when they take the part of artists (or, worse, musicians), as does the art they are working on (The Morning Ride, sold at Christie’s in 2000, right). The Spectator sent their art critic, Andrew Lambirth, to review Summer in February and he thought the problem had been handled well.

By an odd coincidence, there have been two period films released in the last two weeks, one set in SW France and the other in SW England, both dealing with the consequences for women of choosing the wrong husband!