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拍品专文
In 1914 Harold Gilman rented rooms at 47 Maple Street in London. The rooms' distinctive interior with their simple furniture and brightly patterned wallpaper is evident in Roses in a Blue Vase, and from 1916 the landlady Mrs Mounter would also regularly feature in his paintings (for example in Mrs Mounter at the Breakfast Table, circa 1916-17, Tate, London). The pink diamond patterned wallpaper in the background of Roses in a Blue Vase features again in a portrait of 1914-15, Mrs Victor Sly (The Hepworth, Wakefield).
Gilman was also elected President of the newly created London Group in 1914, and his artistic alliance with Charles Ginner, as 'Neo-Realists', was consolidated. His choice of subject matter - here a vase of flowers upon a side table in a quiet and uneventful corner of a room - acknowledges this realism. Stylistically however, Gilman looked to those artists whose work he had seen in Roger Fry's 1910 and 1912 exhibitions of French Post-Impressionism, including van Gogh, Gauguin, Cézanne and Matisse. Controversial and seen by many to be an outrage against good taste, the exhibitions were fascinating to Gilman, and indeed he had already seen what Paris had to offer having visited in 1910. The profusion of pattern and colour in this painting are dominant, rather than the subject itself, and his lack of attempt to suggest a three-dimensional setting recalls the work of Vuillard.
We are very grateful to Dr Wendy Baron for her assistance in preparing this catalogue entry.
Gilman was also elected President of the newly created London Group in 1914, and his artistic alliance with Charles Ginner, as 'Neo-Realists', was consolidated. His choice of subject matter - here a vase of flowers upon a side table in a quiet and uneventful corner of a room - acknowledges this realism. Stylistically however, Gilman looked to those artists whose work he had seen in Roger Fry's 1910 and 1912 exhibitions of French Post-Impressionism, including van Gogh, Gauguin, Cézanne and Matisse. Controversial and seen by many to be an outrage against good taste, the exhibitions were fascinating to Gilman, and indeed he had already seen what Paris had to offer having visited in 1910. The profusion of pattern and colour in this painting are dominant, rather than the subject itself, and his lack of attempt to suggest a three-dimensional setting recalls the work of Vuillard.
We are very grateful to Dr Wendy Baron for her assistance in preparing this catalogue entry.