I wish she'd refused", "Dame Laura Knight and the nude controversy", "Laura Knight at the Theatre, Lowry, Salford", "Poster Girls exhibition showcases forgotten design heroines", "Luxery assortment: the British artists behind Cadbury's chocolate boxes", "Women at war: The female British artists who were written out of history", "Women of the wars: five female artists who depicted women's contributions", "A Gun Girl – Ruby Loftus – Dame Laura Knight's Newport commission", "Human touch:Laura Knight's NPG show is a timely reminder of her talent", https://en.wikipedia.org/w/index.php?title=Laura_Knight&oldid=977399273, Dames Commander of the Order of the British Empire, Olympic silver medalists in art competitions, Wikipedia articles incorporating a citation from the ODNB, Short description is different from Wikidata, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with TePapa identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WorldCat identifiers, Creative Commons Attribution-ShareAlike License. Laura Johnson and Harold Knight married in 1903 and made their first trip to the Netherlands in 1904. Coolly received at the time, the painting has since been recognised as one of the most powerful depictions of war ever produced. [39], Knight explained this choice of composition in a letter to the War Artists' Advisory Committee:[40], In that ruined city death and destruction are ever present.

Dort lernte sie den Studenten Harold Knight kennen, der auf Porträts und Landschaftsmalerei spezialisiert war und dessen Arbeiten sie kopierte.

The Newlyn artists posed for one another on the beach, critiqued each other’s work and spent the long Cornish evenings in the tiny village pub. Working for the War Artists Advisory Committee, she was commissioned to paint portraits of the women and men who had demonstrated exceptional courage in the face of the enemy.

Although she painted on the moors, high inland from Staithes, she did not consider herself successful at resolving these studies into finished pieces.

[2], Knight died on 7 July 1970, aged 92, three days before a large exhibition of her work opened at the Nottingham Castle Art Gallery and Museum.

Around Newlyn the Knights found themselves among a group of sociable and energetic artists, which appears to have allowed the more vivid and dynamic aspects of Laura's personality to come to the fore. Her rigorous figurative approach was designed to bring unusual or overlooked subjects before the British public. [16] Knight also hired a mother and child model to pose for the composition originally known as the Madonna of the Cotton Fields. And yet there was nothing safe or calculated about Knight’s art.

That year she went to Baltimore with Harold and obtained permission to paint in the racially segregated maternity wards of John Hopkins hospital.

[11] The same year she painted a large group portrait of Princess Elizabeth and several civic dignitaries opening the new Broadgate Centre in Coventry. View Dame Laura Knight’s 1,593 artworks on artnet. [2] The following year Knight returned to the theatre, painting and producing crayon studies, backstage at the Old Vic in London during the Birmingham Repertory Theatre's production of Henry IV, Part 1 & Part 2. In the aftermath of the war Knight proposed to the War Artists' Advisory Committee the Nuremberg war crimes trials as a subject. Whilst in Baltimore Knight painted a nurse, Pearl Johnson, who took her to meetings and concerts of the early American civil rights movement. [24], In the early 1920s Knight visited the Bertram Mills Circus at Olympia in West London.

[13] In recent years examples of Knight's plein-air compositions from Cornwall have attracted high prices at auction. 'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs'); Dame Laura Knight's 'Ruby Loftus Screwing a Breech-Ring', c1943, Jodi Ewart Shadoff in contention to become first UK woman to win a US major in 23 years, Top Democrat Nancy Pelosi expresses concern over UK approach to approving Covid-19 vaccine, US Army develops augmented reality goggles for dogs to guide them on the battlefield, MP pay rises £3,300 as thousands lose jobs, From Marcus Rashford and Joe Wicks to a record-breaking quiz host, Covid heroes honoured, Six Sage scientists awarded OBEs in Queen's Birthday Honours list.

She continued to give private lessons after she left the School of Art, as both she and her sister Evangeline Agnes, known as Sissie, had been left to live alone on very little money, after the deaths of their mother, their sister Nellie and both their grandmothers. Im Zweiten Weltkrieg wurde sie von Kenneth Clark als offizielle Kriegsmalerin engagiert.

The family had relations in northern France who were also in the lace-making business and in 1889 Knight was sent to them with the intention that she would eventually study art at a Parisian atelier. Shown at the Royal Academy’s Summer Exhibition of 1926, Ethel Bartlett confirmed Knight as the country’s pre-eminent painter of women, a stamp of approval that freed her to take risks.