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Here is Jane Haining with some of the Hungarian pupils whom she refused to abandon. We have to assume that every single person in this photograph died in horrible circumstances. Each of these young girls (aged 13, 14?) has a more fascinating and beautiful face than the next.

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Jane Haining, who died in Auschwitz after refusing to abandon her Jewish pupils in Budapest, is the subject of this week’s Post. Born in 1897 in Dunscore in Scotland, she moved to Budapest in the early 1930s and refused to come back to Britain, writing: ‘If these children need me in days of sunshine, how much more do they need me in days of darkness?’

harvey

Harold Harvey (1874-1941) painted Holiday in 1912 ie. it’s one of his earlier paintings and not as tip-top as The Critics or A Kitchen Interior which came a bit later, cf. forty-four paintings at Art UK. Although not much later, it is almost as though Harold Harvey had two sides to his painting persona, the pastoral and ever so slightly soppy and the realistic and at times ironic).

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This painting by Rex Whistler could have been on the Post two weeks ago when we had a Rex Whistler ‘week’ but here it is now: ‘Edith Olivier On a Day Bed at the Rear of Daye House’ 1941. It was used to illustrate a review of the book about Rex and Edith, A Curious Friendship, here. The friendship was indeed curious (she was 32 years older than him) but fascinating, warm and admirable.

 

 

edouard

Edouard Gelhay (1856-1939) painted ‘Elegant Women in a Library’ in the 1890s: two women are engaged in scholarly pursuits in what appears to be the family library. The emphasis, delightfully and unusually, is on intellectual inquiry and educational advancement.

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Sir George Clausen (1852-1944) The Quiet Room 1929. It’s at the Crawford Art Gallery in Cork and was purchased in the year it was painted. Art Uk (which has 153 Clausens) says that he was ‘particularly interested in effects of light’, which can indeed be seen in this painting.

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The Persephone Diary for 2017 is in (and available in the shop and from our website) but also we have been given  a beautiful 2017 calendar called The Reading Woman which will be hanging in the shop in January. This week on the Post, five our of its dozen paintings, first of all Laura Reading 1885 by Walter Crane (1845-1915). Laura was the young woman for whom the poet Petrarch (1304-1374) nursed an unrequited passion; when she showed no sign of returning his love, he poured out his feelings into sonnets for which he is famous. Walter Crane’s wife Mary was the model for Laura in this painting.

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One of the last photographs of Tirzah. Her autobiography, Long Live Great Bardfield, which we publish in a month, is witty, brave, perceptive, interesting and totally without self-pity: Tirzah had a touch of greatness that is only now beginning to be recognised (there will be an exhibition at the Towner next year where – at last – she will be seen as a major figure in the 1930s art world).

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Here is one of Tirzah Garwood’s most beloved wood engravings, the comparison with her husband’s famous Train Landscape (1939) being clear to see. It’s called The Train Journey, (1929). Tirzah loved people and focused on them; Eric very rarely put figures into his paintings.

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Tirzah was painted by her friend Phyllis Dodd in 1929.

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