![]() ![]() As her brother points out, she would have been using her arms and hands to hold her palette and brushes while painting and would therefore, have painted them from memory instead of from sight. In T01998 there is a marked difference in quality between the painting of the head and torso, and arms, which hang down in front of her jersey. Until her marriage and removal to the Vale of Heath Studio (Hampstead) Hilda Carline painted quite regularly and according to Richard Carline, this was a very fruitful period. Though 1924 is possible, he prefers the earlier date. Richard Carline dates the picture in spring or early summer 1923, chiefly on stylistic grounds and partly on recollections, before the artist went to France and Spain with the family in July. The artist is wearing a cornelian necklace brought back from Persia by her brothers in 1919. ![]() The brass bed, now in Richard Carline's house, appears to be covered with an Indian print. On the walls are three unidentifiable paintings, probably by her father, George F. The bedroom was divided off from the drawing-room by a screen, not visible in the painting. The ‘Self- Portrait’ was painted in the artist's bedroom in the Carline family home, 47 Downshire Hill, where they had moved in 1917. Spencer had lived with the Carlines on and off from December 1922. In February 1925 she married Stanley Spencer and moved to Henry Lamb's Vale of Heath studio with him. In 1920 after receiving a prize for painting she taught Tudor-Hart's colour theories to a group of Slade students in Hampstead. Hilda then went to the Slade from 1910 to 1920 and again in 1922. At this time she painted lyrical, brightly coloured abstract work Tudor-Hart's own work was academic but he was very open-minded and recognized the work of Picasso and the Cubists. Hilda Carline, sister of Sydney and Richard, studied under her father at Oxford and then at Tudor-Hart's School of Art in Hampstead from 1914 to 1915 (see T02028). The following has been compiled from information provided by Richard Carline. ![]() Presented by Miss Shirin and Miss Unity Spencer and Richard Carline 1975Ĭoll: Miss Shirin and Miss Unity Spencer, the artist's daughtersĮxh: The Spencers and the Carlines in Hampstead in the 1920's, The Odney Club, Cookham, May–June 1973 (13, Hilda Carline Section) Private collection.Oil on canvas 29 1/2×22 3/4 (74.3×57.8) (measurements before restoration) Bertha May Ingle, Self-Portrait, around 1902, oil on canvas. ![]() With your mobile device, share your response to this groundbreaking exhibition through Twitter: follow the Agnes at #ArtistHerself. This project is funded in part by the Government of Canada. Most important, the exhibition reveals the ways in which women artists have given profound expression to their identities. Pauline Johnson, Maud Lewis, Pegi Nicol MacLeod, Hannah Maynard, Daphne Odjig, Princess Louise, Mary Hiester Reid and Marian Dale Scott. From Johnson’s performance costumes representing her dual Mohawk and Euro-Canadian identity to Carr’s painting of herself from the back at her easel, from Maynard’s playful photographs of her multiple selves to Ashoona’s sly comment on her participation in the Inuit art market, these works open up new avenues of inquiry and new understandings of the realities and perspectives of women in Canadian society before 1970. Both renowned and lesser-known artists are featured: Pitseolak Ashoona, Simone Mary Bouchard, Emily Carr, Paraskeva Clark, Martha Eetak, Artis Lane, Caroline Gros Louis, Alice Egan Hagen, Frances Anne Hopkins, E. The result is a thought-provoking selection of 55 works by 42 women artists in a range of media, including paintings, textiles, photographs and film. Spanning pre-Confederation colonialism to the cusp of second-wave feminism, The Artist Herself brings to light a rich but underexplored aspect of Canadian culture.ĭrawing upon our fascination with self-portraits, The Artist Herself expands the genre’s definition by moving beyond the human face to propose other forms of self-representation, from both settler and Indigenous perspectives. ![]()
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