Figuring Women - The Female in Modern British Art (Yale Center for British Art, 2008-03-28 - 2008-06-08)Bloomsbury Contemporaries (Yale Center for British Art, 2000-05-20 - 2000-09-03)20th Century Paintings and Sculpture (Yale Center for British Art, 2000-01-27 - 2000-04-30)
Publications:
Acquisitions : The First Decade 1977-1986 : Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 1986, p. 13, no. 18, N590.2 .A7 OVERSIZE (YCBA)Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 102-103, N590.2 .A83 (YCBA)Paul Mellon's Legacy : a passion for British art [large print labels], , Yale Center for British Art, New Haven, CT, 2007, v. 1, N5220 M552 P381 2007 OVERSIZE (YCBA)Duncan Robinson, Acquisitions : The First Decade 1977 - 1986, , Burlington Magazine, vol. 128, October 1986, p. 13, no. 18, N1 .B87 128:3 OVERSIZE (YCBA)
Gallery Label:
Interiors, usually populated by a single figure, were a common theme in Harold Gilman’s work, reflecting his early interest in the work of James McNeill Whistler and Edgar Degas. Following his exposure to postimpressionist painting in 1910, however, Gilman’s interpretation of these scenes was enlivened by a bolder palette, as evidenced by the intense greens and blues of this particular canvas from 1917. The model for this painting was Gilman’s second wife, the painter Sylvia Hardy, whom he had married that same year. Sylvia was a former student of Gilman’s at Westminster School of Art.\n\n Gallery label for installation of YCBA collection, 2020