Self-portrait, c. 1925

Dame Ethel Walker DBE ARA (9 June 1861 – 2 March 1951) was a Scottish painter of portraits, flower-pieces, sea-pieces and decorative compositions. From 1936, Walker was a member of The London Group.[1] Her work displays the influence of Impressionism, Puvis de Chavannes, Gauguin and Asian art. Walker achieved considerable success throughout her career, becoming the first female member elected to the New English Art Club in 1900.[2] Walker's works were exhibited widely during her lifetime, at the Royal Academy, the Royal Society of Arts and at the Lefevre Gallery. She represented Britain at the Venice Biennale four times, in 1922, 1924, 1928 and 1930.[3][1] Although Walker proclaimed that 'there is no such thing as a woman artist. There are only two kinds of artist — bad and good', she was elected Honorary President of the Women's International Art Club in 1932.[4][2] Soon after her death, she was the subject of a major retrospective at the Tate in 1951 alongside Gwen John and Frances Hodgkins.[1] Walker is now acknowledged as a lesbian artist, a fact which critics have noted is boldly apparent in her preference for women sitters and female nudes.[5][6][7] It has been suggested that Walker was one of the earliest lesbian artists to explore her sexuality openly in her works.[5] While Walker was contemporarily regarded as one of the foremost British women artists, her influence diminished after her death, perhaps due in part to her celebration of female sexuality.[8][9][10] Made a Dame Commander of the Order of the British Empire in 1943, Walker was one of only four women to receive the honour as of 2010.[3]

Early life

Walker was born on 9 June 1861 in Edinburgh,[11] the younger child of Arthur Abney Walker (a Yorkshireman) and his second wife, Isabella (née Robertson), a Scot.[12] Her father was from a family of iron founders.[13] Her secondary education was at Brondesbury in London, where she was taught drawing by Hector Caffierti.

Following secondary school, Walker attended the Ridley School of Art.[13] In 1880 she met fellow artist Clara Christian (1868-1906), and the two began living, working and studying together.[14] She attended Putney School of Art, and visited Madrid, where she made copies of works by Velázquez. She attended the Westminster School of Art in London, where a then popular artist, Frederick Brown, was a teacher.[15] Around 1893 she followed Brown to the Slade School of Art for further study.[14] While at the Slade, she also took evening painting classes with Walter Sickert.[16] She would return to the Slade School in 1912 and 1916 to study fresco and tempera painting; and again in 1921 to study sculpture with James Havard Thomas.

Professional art career

Robin Hood's Bay, Aberdeen Art Gallery

Walker produced a large body of works from different genres, to include flowers, seascapes, landscapes and mythical subjects. Her influences included Greek and Renaissance art, as well as Chinese painting and Taoist philosophy. She also took interest in the female form. Walker is best known for her portraits of the female form, paying particular attention to the detail of the sitter's/model's expression and individual temperament. Her obvious, tactical brush strokes obscure unnecessary details, thereby allowing her to emphasize the aspects of the mood of the moment.[14]

Walker was a supporter of the natural female form, often publicly rebuking other women for wearing makeup and heavy clothing that hid their form. Her models were never allowed to wear makeup, lipstick, or nail polish during sittings.[14] She painted a series of works that reflected mythological themes, and several works depicting nude female models.

In one piece, titled Invocation, Walker used 25 female models, all either scantly clad or nude, kneeling around three female models who are wearing sheer cloth.[14] Birds are depicted fluttering overhead in the painting. It is considered her most detailed piece.[17]

Walker's works throughout her career seemed to capture the human spirit while celebrating the beauty of the female body. The art produced by Walker, who died in London, did have a positive and thought-provoking impact on art as a whole. Her art is regularly displayed in exhibits at many galleries, most notably The Gatehouse Gallery in Glasgow, Scotland.[18] She was elected an Associate of the Royal Academy in 1940.[19][20]

As a portraitist, Walker’s subjects varied from casual acquaintances to close friends and associates. Walker painted fellow artists Lucien Pissarro, Nicolette Macnamara and Orovida Camille Pissarro, as well as society figures including the American-British politician Nancy Astor, the Countess of Strathcona and the magazine and book editor Joan Werner Laurie and author Leo Walmsley.[21][22][23][24][25] Walker’s friendship with Astor was damaged after Walker refused to alter the finished painting to Astor’s mannerly specifications and declared Astor a snob. In the autumn of 1933, Walker met the actress Flora Robson and the actor Charles Laughton and painted at least two portraits of Robson. It was at this time that he commissioned Walker to paint his wife Elsa Lanchester as Prue in William Congreve’s Love for Love, in which all three actors starred at Sadler’s Wells in March 1934.[26][27] Walker painted the young Barbara Hepworth while she was staying in Robin Hood’s Bay, where Walker owned a cottage overlooking the sea.[28] Walker also painted at least two known studies of the young Christopher Robin Milne, one of which is known to have hung in the study of A. A. Milne, the author of Winnie-the-Pooh.[29][30]

Personal life

Young Man with a Red Tie. Red ties were a symbol of queerness amongst men of the period.

Walker was regarded as an especially social artist, living for many years in her studio at Cheyne Walk, Chelsea,[31] and took an active part in the artistic life of the area.[32] The influential Irish novelist, writer, and critic George Moore (novelist) recognised Walker's talent, and introduced her to French Impressionism when she met him in Paris returning to London from a visit to Spain. Moore later lent Walker use of his flat in Victoria Street, London, where she painted Angela, which saw her accepted to the New English Art School.[33] Among Walker's friends was the writer William Rothenstein, who in March 1935 honoured Walker with a dinner at the Belgrave Hotel attended by some seventy guests, including Bloomsbury Group members Virginia Woolf, Duncan Grant, and Vanessa Bell, alongside fellow artists Wilson Steer and Henry Tonks.[34] Woolf recalled in her diary that she had 'great fun at Ethel's party last night, & I enjoyed myself enormously'.[35] Walker had also offered to paint Woolf nude, as Woolf described in a letter: 'I am going to be painted, stark naked, by a woman called Ethel Walker who says I am the image of Lilith'.[36] Walker painted Woolf's sister Bell in 1937, seated in a domestic interior possibly being that of Charleston Farmhouse.[37] Rothenstein's son, the Tate Director John Rothenstein, regarded Walker as the most supremely vain artist he was acquainted with. Walker wrote in a letter urging Rothenstein to purchase more of her works on behalf of the gallery that, 'every purchase of my work strengthens and enriches the sum of the good pictures at the Tate Gallery'.[38]

Walker was disapproving of cosmetics, and was known to rebuke women in public on account of their makeup. She required her models to remove lipstick and nail polish before entering her studio.[39] One friend recollected: ‘She executed commissions when she liked the look of the would-be sitters but before painting her women she would say “Take that filthy stuff off your lips” for, always faithful to the motif, she could not tolerate the sudden assault of red upon an eye so sensitive to tone'.[40] Speaking to the art dealer Lillian Browse, Walker stated, 'if you take that filthy stuff off your face [lipstick] I would like to paint a portrait of you'.[41]

In her eighties, Walker befriended the Polish artist Marian Kratochwil, who had fled occupied Europe and arrived penniless in London in 1947.[42] Walker was too old to support Kratochwil's career as she might have hoped, and Kratochwil drew the artist lying on her death-bed.[43] Upon Walker's death, Kratochwil learnt that she had secretly made him beneficiary of her estate, which included the remaining canvases in her studio.[44] Along with his wife Kathleen Browne, the Kratochwils later gifted many of these works to galleries including seven works presented to The Courtauld Institute of Art in 1973.[45]

Exhibitions

Walker exhibited widely during her lifetime, and achieved considerable recognition. For comparison, her contemporary Gwen John was only featured in one major exhibition during her own lifetime, alongside her preeminent brother Augustus John.[46] Walker began exhibiting at the Royal Academy from 1898.[47] Throughout the 1920s, Walker was one of the most frequently exhibited women artists in the annual Summer Exhibition, alongside Laura Knight and Dod Procter.[48]

After Walker's painting Angela was featured in an 1899 exhibition of the New English Art Club, she became its first female member in 1900.[49][50]

A 1913 review noted an apparently outstanding quality of Walker's works: 'By far the most interesting painter in the present show is Miss Ethel Walker [...] Miss Walker sees delicately and paints delicately. She has made up her mind in a very definite way and expresses it without hesitation. Her work is the strongest in the gallery, and it is also the most unmistakably feminine'.[51]

From 1930 onwards, Walker held many exhibitions at the Lefevre Gallery, including: April 1931, March 1933, January-February 1935, April 1939, October 1942, and November 1949.[52][53][54][55][56][57] Walker also exhibited over a long period with The Redfern Gallery, including exhibitions in 1932 and 1952.[58][59][60]

In 1938, Queen Elizabeth The Queen Mother, a keen collector of art, purchased Walker's At Sea on an October Morning for £750. The Queen's interest in Walker was likely influenced by her artistic mentor Jasper Ridley, whose collection included a number of works by Walker.[61]

In 1951, The Tate held a major retrospective entitled Ethel Walker, Frances Hodgkins, Gwen John: A Memorial Exhibition, organised by the Tate Director John Rothenstein, a friend of Walker's.[62] The exhibition was well received by critics, including one writing in The Spectator who impressed the significant contribution of each artist: 'It would be ungenerous to attempt to weigh the relative importance of the three women painters [...] for together they form the greater part of woman's contribution to British painting in this century'.[63]

As of 2008, women artists constituted only 10% of the Tate collection. Of these, Walker is one of a select few represented by numerous works.[64]

In 2017, Walker's large work Decoration: The Excursion of Nausicaa was included in the Tate Britain exhibition Queer British Art 1861-1967.[65][66]

15 paintings by Walker were selected for exhibition by Piano Nobile at Frieze Masters, the pre-2000 arm of the renowned Frieze Art Fair. Notable works of the display included Decoration: Evening (1936).[67]

Further reading

  • T. W. Earp (et al.), Ethel Walker, Frances Hodgkins, and Gwen John: A Memorial Exhibition ( London: Arts Council of Great Britain, 1952)
  • B. L. Pearce, Dame Ethel Walker: An Essay in Reassessment (Exeter, England: Stride Publications, 1997)

References

  1. 1 2 3 The Biographical Dictionary of Scottish Women. Edinburgh: Edinburgh University Press. 2006. p. 363. ISBN 9780748626601.
  2. 1 2 Rideal, Liz (2002). Mirror, Mirror Self-portraits by Women Artists. Watson-Guptill Publications. p. 60. ISBN 9780823030712.
  3. 1 2 Greer, Germaine (20 June 2010). "Paula Rego is the fourth woman painter to be made a dame. I wish she'd refused". The Guardian. Retrieved 3 December 2022.
  4. ↑ Wullschlager, Jackie. "Queer Art At Tate Britain". Financial Times. Retrieved 2 December 2022.
  5. 1 2 Hyde, Sarah (1997). Exhibiting Gender. Manchester: Manchester University Press. p. 49. ISBN 9780719042430.
  6. ↑ Summers, Claude (2012). The Queer Encyclopedia of the Visual Arts. New Jersey: Cleis Press. p. 360. ISBN 9781573448741.
  7. ↑ Bedworth, Candy (22 August 2019). "Dame Ethel Walker – A Sensitive Portrait". Daily Art Magazine. Retrieved 2 December 2022.
  8. ↑ Reckitt, Helena (2022). The Art of Feminism, Revised Edition. London: Chronicle Books LLC. p. 83. ISBN 9781797220383. Retrieved 2 December 2022.
  9. ↑ Cooper, Emmanuel (2005). The Sexual Perspective Homosexuality and Art in the Last 100 Years in the West. London: Taylor & Francis. p. 90. ISBN 9781134834587. Retrieved 2 December 2022.
  10. ↑ Bilton, Dominic. ""(re)remembered and celebrated"". British Art Network. Retrieved 2 December 2022.
  11. ↑ Benezit Dictionary of Artists. Oxford Univ Pr. 1 January 2010. ISBN 9780199773787. OCLC 662407525.
  12. ↑ Summers, Claude (2012). The Queer Encyclopedia of the Visual Arts. New Jersey: Cleis Press. p. 338. ISBN 9781573448741. Retrieved 2 December 2022.
  13. 1 2 "Ethel Walker". Oxford Dictionary of National Biography (online ed.). Oxford University Press. 2004. doi:10.1093/ref:odnb/36689. (Subscription or UK public library membership required.)
  14. 1 2 3 4 5 "Profile: Ethel Walker". glbtq.com. Archived from the original on 2 April 2015. Retrieved 8 March 2015.
  15. ↑ "Dame Ethel Walker: painter with a full range of subjects". The Times. 3 March 1951. Retrieved 8 March 2017.
  16. ↑ Strang, Alice (2015). Modern Scottish Women: Painters and Sculptors 1885-1965. Edinburgh: National Galleries of Scotland. p. 104. ISBN 978-1-906270-89-6.
  17. ↑ "Bridgeman Images". Archived from the original on 19 April 2013. Retrieved 8 March 2015.
  18. ↑ Profile Archived 2007-03-11 at the Wayback Machine, contemporaryartgalleryscotland.net; accessed 15 June 2015.
  19. ↑ "Ethel Walker, A.R.A." Royal Academy. Retrieved 12 September 2016.
  20. ↑ National Art-Collections Fund Review. National Art Collections Fund. 1995. p. 147. Retrieved 5 December 2022.
  21. ↑ "Lucien Pissarro". Art UK. Retrieved 27 March 2023.
  22. ↑ "Portrait of a Woman with a Yellow Scarf, ca. 1930s ?". Royal Academy. Retrieved 3 December 2022.
  23. ↑ "The Countess of Strathcona". Museum of New Zealand. Retrieved 3 December 2022.
  24. ↑ "Miss Jean Werner Laurie". Tate. Retrieved 27 March 2023.
  25. ↑ "Leo Walmsley by Dame Ethel Walker (1861 - 1951)". Pannett Art Gallery. Retrieved 13 November 2023.
  26. ↑ "Portrait of Flora Robson, ca. 1933-34". Royal Academy. Retrieved 27 March 2023.
  27. ↑ Pearce, Brian Louis (1997). Dame Ethel Walker An Essay in Reassessment. London: Stride Publications. p. 14. ISBN 9781900152259.
  28. ↑ Kennedy, Maev (11 May 2015). "Early portrait of sculptor Barbara Hepworth donated to Wakefield gallery". Guardian. Retrieved 3 December 2022.
  29. ↑ "176: [Milne, A.A.]--Walker, Dame Ethel". Sotheby's. Retrieved 26 December 2022.
  30. ↑ "Christopher Robin. Attrib to Dame Ethel WALKER (1861-1951) Portrait of Christopher Robin, Oil on can". Burstow & Hewett. Retrieved 13 November 2023.
  31. ↑ "Settlement and building: Artists and Chelsea Pages 102-106 A History of the County of Middlesex: Volume 12, Chelsea". British History Online. Victoria County History, 2004. Retrieved 21 December 2022.
  32. ↑ Cooper, Emmanuel (2005). The Sexual Perspective Homosexuality and Art in the Last 100 Years in the West (2 ed.). London: Taylor & Francis. p. 86. ISBN 9781134834587. Retrieved 2 December 2022.
  33. ↑ Yu, Mengting (2020). London's Women Artists, 1900-1914 A Talented and Decorative Group. Singapore: Springer Singapore. p. 189. ISBN 9789811557057. Retrieved 5 December 2022.
  34. ↑ Kenyon, Justine (July–August 1992). "History: In Pursuit of Heaven: Ethel Walker (1861-1951)". Women's Art Magazine. 47: 17.
  35. ↑ Woolf, Virginia (1977). The Diary of Virginia Woolf: 1931-1935. New York: Harcourt Brace Jovanovich. p. 285. ISBN 9780151256020. Retrieved 3 December 2022.
  36. ↑ Woolf, Virginia (1979). The Letters of Virginia Woolf (Volume 5 ed.). London: Hogarth Press. p. 174. ISBN 9780701204693. Retrieved 27 March 2023.
  37. ↑ "Vanessa". Tate. Retrieved 3 December 2022.
  38. ↑ Kenyon, Justine (July–August 1992). "History: In Pursuit of Heaven: Ethel Walker (1861-1951)". Women's Art Magazine. 47: 17.
  39. ↑ Summers, Claude (2012). The Queer Encyclopedia of the Visual Arts. New Jersey: Cleis Press. p. 338. ISBN 9781573448741. Retrieved 2 December 2022.
  40. ↑ "Portrait of a Woman with a Yellow Scarf, ca. 1930s ?". Royal Academy. Retrieved 3 December 2022.
  41. ↑ Browse, Lillian (1999). Duchess of Cork Street The Autobiography of an Art Dealer. London: Giles de la Mare. p. 66. ISBN 9781900357142. Retrieved 3 December 2022.
  42. ↑ Hall, Douglas (7 February 1998). "Obituary: Marian Kratochwil". Independent.
  43. ↑ "Ethel Walker, 1861 - 1951. Artist. (On her death-bed)". National Galleries of Scotland. Retrieved 3 December 2022.
  44. ↑ "Marian Kratochwil". National Galleries of Scotland. Retrieved 3 December 2022.
  45. ↑ Hall, Douglas (2008). Art in Exile Polish Painters in Post-war Britain. London: Sansom. p. 139. ISBN 9781904537663. Retrieved 3 December 2022.
  46. ↑ The Women's Art Show, 1550-1970. Nottingham Castle Museum. 1982. p. 79. ISBN 9780905634036. Retrieved 5 December 2022.
  47. ↑ National Art-Collections Fund Review. National Art-Collections Fund. 1995. p. 147. Retrieved 5 December 2022.
  48. ↑ Spalding, Frances (2022). The Real and the Romantic English Art Between Two World Wars. London: Thames and Hudson. ISBN 9780500777374. Retrieved 5 December 2022.
  49. ↑ Cooper, Emmanuel (2005). The Sexual Perspective Homosexuality and Art in the Last 100 Years in the West. London: Taylor & Francis. p. 90. ISBN 9781134834587. Retrieved 5 December 2022.
  50. ↑ Rideal, Liz (2002). Mirror, Mirror Self-portraits by Women Artists. Watson-Guptill Publications. p. 60. ISBN 9780823030712. Retrieved 5 December 2022.
  51. ↑ Yu, Mengting (2020). London's Women Artists, 1900-1914 A Talented and Decorative Group. Singapore: Springer Singapore. p. 195. ISBN 9789811557057. Retrieved 5 December 2022.
  52. ↑ Catalogue of Oil Paintings by Ethel Walker. London: Alex Reid and Lefevre Ltd. 1931.
  53. ↑ Catalogue of Recent Paintings and Drawings by Ethel Walker. London: Alex Reid and Lefevre Ltd. 1933.
  54. ↑ Catalogue of Recent Paintings by Ethel Walker. London: Alex Reid and Lefevre Ltd. 1935.
  55. ↑ Ethel Walker: New Paintings. London: Alex Reid and Lefevre Ltd. 1939.
  56. ↑ Recent Paintings by Ethel Walker C.B.E. London: Alex Reid and Lefevre Ltd. 1942.
  57. ↑ Paintings by Dame Ethel Walker, Drawings by Augustus John, Selected Works by French XX Century Masters. London: Alex Reid and Lefevre Ltd. 1949.
  58. ↑ Gaze, Delia (2013). Concise Dictionary of Women Artists. London: Taylor & Francis. p. 75. ISBN 9781136599019. Retrieved 5 December 2022.
  59. ↑ Recent Oils by R.O. Dunlop, Ethel Walker... [et al.] and a Collection by the Late Derwent Lees: Also a Selection of the Last Spirit Pictures by the Late Charles Sims. London: Redfern Gallery. 1932.
  60. ↑ Osbert Lancaster, Richard Eurich, Alan Reynolds, Ethel Walker, Derwent Lees. London: Redfern Gallery. 1952.
  61. ↑ Vickers, Hugo (2013). Elizabeth, The Queen Mother. London: Random House. p. iv. ISBN 9781448150724. Retrieved 5 December 2022.
  62. ↑ Gaze, Delia (2013). Concise Dictionary of Women Artists. London: Taylor & Francis. p. 385. ISBN 9781136599019. Retrieved 5 December 2022.
  63. ↑ "The Spectator". No. 188. 4 January 1954. Retrieved 5 December 2022.
  64. ↑ Marstine, Janet (2008). New Museum Theory and Practice An Introduction. London: Wiley. p. 67. ISBN 9781405148825. Retrieved 5 December 2022.
  65. ↑ Bunyan, Dr. Marcus (24 September 2017). "Review: 'Queer British Art 1861-1967' at Tate Britain, London". Art Blart. Retrieved 5 December 2022.
  66. ↑ "A Queer Little History of Art: The Excursion of Nausicaa". Tate. Retrieved 5 December 2022.
  67. ↑ "'Modern Women' Reframes Art History at Frieze Masters 2023". Frieze. 18 August 2023. Retrieved 22 September 2023.
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