Difference between revisions of "Ethel Walker"
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She was born in [[Edinburgh]] but educated in [[London]]. In 1880 she met fellow artist [[Clara Christian]], and the two women began living, working and studying together.<ref>T W Earp and others, "Ethel Walker, Frances Hodgkins, and Gwen John: A Memorial Exhibition" ( London: Arts Council of Great Britain, 1952)</ref> | She was born in [[Edinburgh]] but educated in [[London]]. In 1880 she met fellow artist [[Clara Christian]], and the two women began living, working and studying together.<ref>T W Earp and others, "Ethel Walker, Frances Hodgkins, and Gwen John: A Memorial Exhibition" ( London: Arts Council of Great Britain, 1952)</ref> | ||
| − | Walker was a supporter of the natural female form, often publicly rebuking other women for wearing makeup and heavy clothing that hid their form. Her models were never allowed to wear makeup, lipstick, or nail polish during sittings. In one piece, titled ''Invocation'', considered her most detailed piece, Walker used 25 female models, all either scantly clad or nude, kneeling around 3 female models who are wearing sheer cloth<ref>http://www.glbtq.com/arts/walker_e.html</ref>. Birds are depicted fluttering overhead. | + | Walker was a supporter of the natural female form, often publicly rebuking other women for wearing makeup and heavy clothing that hid their form. Her models were never allowed to wear makeup, lipstick, or nail polish during sittings. In one piece, titled ''Invocation'', considered her most detailed piece, Walker used 25 female models, all either scantly clad or nude, kneeling around 3 female models who are wearing sheer cloth<ref>http://www.glbtq.com/arts/walker_e.html "Thel Walker" in the [[GLBTQ Encylopedia]]</ref>. Birds are depicted fluttering overhead. |
==References== | ==References== | ||
Revision as of 13:38, 27 April 2013
Dame Ethel Walker (1861–1951) was a painter, best known for her portraits of the female form.
She was born in Edinburgh but educated in London. In 1880 she met fellow artist Clara Christian, and the two women began living, working and studying together.[1]
Walker was a supporter of the natural female form, often publicly rebuking other women for wearing makeup and heavy clothing that hid their form. Her models were never allowed to wear makeup, lipstick, or nail polish during sittings. In one piece, titled Invocation, considered her most detailed piece, Walker used 25 female models, all either scantly clad or nude, kneeling around 3 female models who are wearing sheer cloth[2]. Birds are depicted fluttering overhead.
References
- ↑ T W Earp and others, "Ethel Walker, Frances Hodgkins, and Gwen John: A Memorial Exhibition" ( London: Arts Council of Great Britain, 1952)
- ↑ http://www.glbtq.com/arts/walker_e.html "Thel Walker" in the GLBTQ Encylopedia
