|Winifred Nicholson, Daffodils & Bluebells in a |
Norman Window, 1950s (Kettle's Yard)
All I could do was look. The brushwork was loose and flowing, as if the artist had liked the scene very much and enjoyed painting it. In turn I found myself enjoying the muted colours and the lively brushwork. It seemed an original kind of vision. Then someone came by and said something about the artist being very good but not well known. I knew the name, Winifred Nicholson, through association with her husband Ben, but I didn't know her as an artist in her own right.
|Winifred Nicholson, Sound of Rhum from Isle of Eigg, 1950s|
|Current exhibition at Kettle's Yard Gallery|
|Winifred Nicholson, Seascape (Sea and Sand), 1926 (Kettle's Yard)|
|Winifred Nicholson, From Bedroom Window, 1930|
Two years later she responded to her husband's departure by removing to Paris with their children, there continuing both to paint and to write about her ideas, before returning to Britain shortly before the war. For the rest of her life she would divide her time between her family and her painting, exhibiting regularly in London and enjoying periods of intense creativity and experimentation. Some of the work she painted later in life, especially in Scotland and around Banks Head, is as fresh and luminous as the pictures from the 1920s. Throughout, she maintained a warm, lively correspondence with her former husband and retained an endless fascination for the music of colour.
|Winifred Nicholson, Flower Table, Pots, 1929|