This fascinating exhibition about the British painter has a particular, piquant flavour, says Mark Hudson
No tragic dilettantism here, then, and barely a trace of fumbled modernism, or even an awareness – certainly not in the first few rooms – that “Modern art” is even happening. From super-slick “swagger” portraits of duchesses and eminent politicians to skilful, but mostly very dark-toned street scenes and mythological works, most of these paintings could have been painted decades, some even a century, before their actual moment: the late 1910s to the 1930s.
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