Harold Knight, R.A. (1874-1961)
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Harold Knight, R.A. (1874-1961)

Morning Sun

細節
Harold Knight, R.A. (1874-1961)
Morning Sun
signed 'Harold Knight' (lower left) and inscribed 'No. 6 Morning Sun Exhibited/RA' (on the canvas-overlap)
oil on canvas
30¼ x 25¼ in. (76.9 x 64.1 cm.)
來源
Anonymous sale; Phillips, London, 21 November 2000, lot 11.
with Richard Green, London.
出版
K. McConkey et al., Exhibition catalogue, Harold Harvey Painter of Cornwall, Penlee House, Penzance, 2001, pp. 22-3, fig. 11.
展覽
London, Royal Academy, 1913, no. 358.
注意事項
VAT rate of 5% is payable on hammer price plus buyer's premium
拍場告示
Please note that this painting is signed and inscribed 'Morning Sun/Harold Knight/Oakhill/St Bunyan/Cornwall' (on the original framing label attached to the stretcher)

拍品專文

Kenneth McConkey (loc. cit), comments on interior painting in Cornwall, 'By 1913, a new vital area of subject matter opened up with a series of paintings of interiors. The conventional view of these pictures is that they derive from the curtailment of the painter's activities in time of war. Coastlines could not be represented since, it was thought, pictures of them could assist an invader. However, Harvey was undoubtedly aware of the sophisticated interiors of John Singer Sargent and John Lavery. He must also have seen the suave, stylish modernist rooms of Orpen, Clausen, Philip Connard and William Nicholson distilled in Newlyn in the work of Harold Knight. Knight's pictures often play what Whistler would have referred to as 'old games', that is, they play the game of balancing shapes and rectangles. Harold Knight's Morning Sun, for instance, shown at the Royal Academy in 1913, ostensibly a study of sunlight falling into a room in which a woman sits calmly reading, is in fact, strictly formalist. The figure and the back wall are ranged parallel to the plane of the picture and the window rectangle mimics the proportions of the canvas. The curtain is pulled to the right to balance the girl on the left and the clock in the upper left corner holds the composition taut. References to Whistler's Arrangement in Grey and Black, No. 1, The Painter's Mother, 1872 (Musée d'Orsay, Paris) would not be inappropriate here. Knight's woman even uses a footstool'.