Malvern Hills

by Dame Laura Knight

DIMENSIONS: (unframed) 16.0 x 24.0 in./40.6 x 61.0 cm
SIGNATURE: Signed lower left
MEDIUM: Oil on canvas

This painting is testimony of her love affair for the area with its bold, bright and realist depiction of the landscape. The view is almost romanticised and one can imagine Knight painting this view from the back of her Rolls Royce with the doors wide open- supposedly the only vehicle that was large enough to hold her easel.

Catalogue No: 5518 Categories: ,

Laura Knight and her husband, the artist Harold Knight, first fell in love with Malvern whilst attending the Malvern Literary Festival in 1931. At the time the festival was run by a friend of theirs, and the festival, along with the charm of the town, led it to become a place for annual trips, until ultimately the couple moved to the area.

Private Collection, United Kingdom

 

Dame Laura Knight was an English artist who worked in oils, watercolours, etching, engraving and dry point printing. The artist was born in Derbyshire and was encouraged to paint by her artistic mother from a young age.  Although her life began in poverty, eventually she became financially successful and developed lasting friendships with people from all walks of life, from gypsies, circus folk and factory workers to more fortunate well-known authors, actors, playwrights and aristocrats. She first went to study at Nottingham School of Art at the age of just thirteen years. It was here that she met her future husband, Harold Knight, with whom she spent time in Staithes, Yorkshire, where they both found great inspiration for their work.

 

During her long career, Knight was among the most successful and popular painters in Britain. In 1929 she was created a Dame and in 1936 became the first woman elected to the Royal Academy since its foundation in 1768. Although Knight was known for painting amidst the world of the theatre and ballet in London, and for being a war artist during the Second World War, she was also greatly interested in, and inspired by, more marginalised communities and individuals including Gypsies and circus performers. Her focus on rural life and ‘simple’ people was attractive to the urban middle classes, who longed for the idyllic countryside. Her success in the male-dominated British art establishment paved the way for greater status and recognition for women artists. She is now recognised as the most famous female British artist of the Impressionist School.

Royal Academy 1958, No.19

 

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