GashWhile Gash's oeuvre is full of the period charm that might be expected from the decades that bridge either side of the Edwardian era, his pictures consistently offer something more substantial. His genre paintings bring to mind those of Charles Spencelayh but they display a less predictable and less laboured narrative. As a landscape painter he painted en plein air with relish; he excelled in themedium of pastel. According to his daughter, portraiture was the genre he enjoyed most. His portraits are consistently ...
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GashWhile Gash's oeuvre is full of the period charm that might be expected from the decades that bridge either side of the Edwardian era, his pictures consistently offer something more substantial. His genre paintings bring to mind those of Charles Spencelayh but they display a less predictable and less laboured narrative. As a landscape painter he painted en plein air with relish; he excelled in themedium of pastel. According to his daughter, portraiture was the genre he enjoyed most. His portraits are consistently striking, moving impressively from conversation pieces, such as his elegant and engaging family group of c.1919, to the tradition of Swagger portraits which recall those of Gainsborough, Lawrence and Sargent. For an artist who died before he was 60 it is striking that his most memorable images are amongst his last. The Inseparables, for instance, demonstrates the kind of facility and originality that puts him comfortably on a stage with many of the better known international artists of his period. Indeed, his best work can be viewed as a potent last flowering of the landscape, portrait and genre tradition exemplified by artists such as Sir George Clausen, Stanhope Forbes and Mark Fisher. It is hoped that Walter Bonner Gash: Unsung Edwardian Hero will firmly re-establish Gash's reputation and demonstrate that his talent stands comparison with those of the better known Kettering artists Thomas Cooper Gotch and Sir Alfred East.
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