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| Self-Portrait 1965 pencil 26.5 x 17.5 cm |
Roberts was a pioneer, among English artists, in his use of abstract images. In later years he described his approach as that of an “English Cubist”. In the First World War he served as a gunner on the Western Front, and in 1918 became an official war artist. Roberts’s first one-man show was at the Chenil Gallery in London in 1923, and a number of his paintings from the twenties were purchased by the Contemporary Art Society for provincial galleries in the UK. In the 1930s it could be argued that Roberts was artistically at the top of his game; but, although his work was exhibited regularly in London and, increasingly, internationally, he always struggled financially. This situation became worse during the Second World War – although Roberts did carry out some commissions as a war artist.
Roberts is probably best remembered for the large, complex and colourful compositions that he exhibited annually at the Royal Academy summer exhibition from the 1950s until his death. He had a major retrospective at the Tate Gallery in 1965, and was elected a full member of the Royal Academy in 1966. There has recently been a revival of interest in the work of this artist who always worked outside the mainstream.
Note: All images © reserved (Bona Vacantia)
This is part 12 of a 20-part series on the works of William Roberts:
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| 1946 The War Baby study pencil, watercolour and crayon, squared 14.5 x 19.0 cm |
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| 1946 The War Baby oil on canvas 50 x 60 cm (colour version not found) |
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| 1946-47 Crossing the Minch study pencil, squared 18 x 13.5 cm |
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| 1946-47 Crossing the Minch pen, ink and watercolour 35.5 x 25.5 cm |
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| 1946-47 Evening in Oban study pencil, squared 18 x 13.3 cm |
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| 1946-47 Evening in Oban pen, ink and watercolour 35.5 x 25.5 cm |
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| 1946-47 The Gypsies study pencil, squared 18.5 x 12.5 cm |
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| 1945-47 The Gypsies pen, ink and watercolour 36.5 x 25.7 cm |
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| 1946-48 Trying on a Hat pen and ink and watercolour 36.2 x 26.5 cm |
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| 1946-49 Spanish Rhythm study pencil, squared 24.1 x 24.1 cm |
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| 1946-49 Spanish Rhythm study watercolour and pencil, squared 13.3 x 15.9 cm |
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| 1946-49 Spanish Rhythm oil on canvas 56 x 66.5 cm |
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| c1946 Barra Graveyard, Shetlands study pencil on paper, squared 12.7 x 17.8 cm |
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| c1946 Barra Graveyard, Shetlands pen, ink and watercolour 26 x 35.5 cm |
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| c1946 Robin Brook oil on canvas 43 x 33.5 cm |
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| c1946 The Barber’s Shop study pencil and watercolour, squared, 15.2 x 12.7 cm |
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| c1946 The Barber’s Shop oil on canvas 51 x 40.6 cm |
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| 1947-48 The Rhododendron oil on canvas 61.5 x 51 cm The Ingram Collection of Modern British and Contemporary Art, London |
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| 1948 Study for ‘I’ll Put a Tuck in ‘Em’ pencil on paper 17.8 x 13.3 cm Tate Gallery, London |
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| 1948 ‘I’ll Put a Tuck in ‘Em’ watercolour 35 x 25 cm |
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| c1948 La Nature Morte (Still Life) study, squared watercolour 18 x 12.5 cm |
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| 1948 La Nature Morte (Still Life) watercolour 49.5 x 31.8 cm Museum of Art, Swindon, UK |
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| 1948 Study for ‘Homage à Stulik’ graphite on paper 18.4 x 13.3 cm Tate Gallery. London |
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| 1948 Homage à Stulik pencil, ink and watercolour 39.6 x 28.7 cm |
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| 1948 The Sailor’s Return study pencil, crayon and watercolour, squared 15.2 x 12.7 cm |
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| 1948-49 Bus Stop study graphite on paper, squared 17.8 x 89 cm Tate Gallery, London |
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| 1948-49 Bus Stop watercolour 40 x 22.5 cm |
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| 1948-49 Portrait of a Man lighting a Pipe oil on canvas 51.4 x 39.7 cm Tate Gallery, London |
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| 1948-49 Sarah with Her Hair in Ribbons oil on canvas 50.8 x 40.6 cm |
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| 1948-49 The London Group gives a Reception study pencil, squared 13 x 18.3 cm |
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| 1948-49 The London Group gives a Reception watercolour, pencil and ink 25 x 35 cm |
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| 1948-53 Milking Goats pen and ink 22.5 x 15 cm |
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| c1948 Good Food for Growing Children Cover design for a publication of Ernest Cooper’s London Health Centre |
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| c1948 Mother and Children Picnicking pen and ink 15 x 15 cm |
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| c1948 The Critic Intervenes study pencil, squared 15.2 x 13.3 cm |
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| c1948 The Critic Intervenes pen and black ink and watercolour 38 x 28 cm |
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| 1949 Cantering to the Post oil on canvas 61 x 50.8 cm Tate Gallery, London |
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| 1949 Côte d’Azur study pencil, squared 13 x 19 cm |
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| 1949 Côte d’Azur pen and watercolour 25 x 36.4 cm |
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| 1949 Donald Wolfit as King Lear at the ‘Old Bedford’ (aka King Lear) oil on canvas 50 x 39 cm |
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| 1949-50 Primrose Hill study watercolour and pencil, squared 33.5 x 43 cm |
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| 1949-50 Primrose Hill oil on canvas 40.5 x 51 cm |
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| c1949 Ernest Cooper, Esq. oil on canvas 51 x 40.5 cm |
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| c1949 In the Straight pencil and watercolour 27 x 37 cm |