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In her life and art, Nina Hamnett had some serious fun

Nina Hamnett was ‘deadly serious about painting’, as she put it in
Laughing Torso, a collection of her reminiscences published in 1932. A photograph of her as a young woman in her studio shows her standing with confidence, obscuring her easel, in wide-legged crêpe trousers and sandals, a cigarette in hand, her expression both earnest and ironic. At art school, under the tutelage of William Nicholson, she learned still life, placing objects – everyday, domestic things: an inkwell, an hydra jug, a two-handled cup, a small glass of white wine – not-quite squarely within the frame, the objects cropped at their edges. She disobeyed the conventions of the genre: no luminous porcelain, no flowers; the paintings do not glow. Her palette was London rooftops on a grey afternoon, solid browns and gloomy greens reflecting the material conditions of the paintings’ setting: a wooden tabletop in a rented room in Fitzrovia. In portraiture, she went beyond formality, finding ways t ....

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Hug a museum: the best exhibitions to see around the UK as restrictions ease

Hug a museum: the best exhibitions to see around the UK as restrictions ease
theartnewspaper.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from theartnewspaper.com Daily Mail and Mail on Sunday newspapers.

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Rarely seen paintings by Nina Hamnett, fringe member of the Bloomsbury Group, go on show at Charleston

Nina Hamnett’s The Landlady (1918). The artist said she wanted to paint “psychological portraits” that “represent accurately the spirit of the age”
Photo: © Bridgeman Images
Despite Nina Hamnett’s best efforts to buck convention, the story of this Queen of Bohemia fits the mould of many other Modernist women artists. She painted and had solo exhibitions, was celebrated by critics and collectors, then died and vanished. Hamnett was forgotten soon after her death in 1956, with most of her paintings hidden from public view in the homes of her patrons’ descendants.
Where her legacy veers from this trope of the woman artist is that she was immortalised by male peers such as Walter Sickert and Roger Fry, so that if you have heard of her at all, it is likely as a model. Or you may know her from her bestselling autobiographies, in which she described enlivening the parties of her Bloomsbury Group or Parisian friends. ....

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