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Painting the experimental planting at Jekyll's famous Arts & Crafts home and garden, Munstead Wood, Allingham became famed for her garden scenes.
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 | Biography
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 | Allingham initially pursued a professional career as a graphic artist and children's book illustrator. The first woman to be elected as a full member of the Royal Watercolour Society, this exhibition explores the significant contribution that this ground-breaking woman artist made to the Victorian art world. Art Gallery Rd, The Domain 2000Sydney, AustraliaInfo line 1800 679 278, See opening hours and admission width="126" height="180" align="left" hspace="5">  |   | The unspoilt character of the English countryside and its vernacular architecture were Allingham’s main concerns.  | The Society This Autumn, Watts Gallery- Artists' Village holds a major exhibition devoted to the British artist Helen Allingham RWS (1848-1926). width="134" height="180" align="left" hspace="5"> width="136" height="180" align="left" hspace="5">
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Copyright © 2000-2019 The Helen Allingham Society. To see a larger picture with the title, just click on the image.
Gallery II She created watercolors and illustrated children's books. To see a larger picture with the title, just click on the image.  | She worked as a magazine illustrator before her marriage in 1874 to the Irish poet William Allingham (an associate of the Pre-Raphaelites) when she took up watercolour seriously. Read the latest visit information, including hours. Books & Prints
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Her works were phenomenally successful and attracted adulation from the press and public before reaching a wider audience through colour reproductions in books such as Happy England (1903) by Marcus Huish and The cottage homes of England (1909) by Stewart Dick. Attracted to the rural way of life idealised in their respective art and poetry, in 1881 the Allinghams moved to rural Surrey.  | Search over 215,000 works, 150,000 of which are illustrated from the 16th Century to the present day.
  | FAQs  |  | Her method, which involved ‘obtaining effects by rubbing, scrubbing and scratching’, was described by Marcus Huish: ‘Flowers are carved out of a background… and left as white paper, all their drawing and modelling being achieved by a dextrous use of the knife and a wetted and rubbed surface… There are no badly pencilled outlines, and the blooms blend amongst themselves and grow naturally out of their foliage.’, Victorian watercolours, Art Gallery of New South Wales, Sydney 2017.