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The life and work of well-known equestrian artist Lucy Kemp-Welch – whose illustrations featured within the unique 1915 version of Anna Sewell’s Black Magnificence – might be celebrated in a six-month exhibition.
Lucy, who died in 1958 aged 89, was extremely regarded, recognized for her work that includes equines and landscapes. A few of her finest recognized work included the 1894 portray Gypsy Horse Drovers, and the 1986 Foam Horses, and her Black Magnificence illustrations.
The exhibition, In Her Personal Voice, opens on 1 April on the Russell-Cotes Artwork Gallery and Museum in Lucy’s house city Bournemouth, in collaboration with the Nationwide Horseracing Museum. It’s the first main exhibition of Lucy’s work in additional than 20 years, and can function greater than 60 items from Lucy’s lifetime together with these from nationwide and regional museums and personal collections – some which have by no means been on show to the general public.
“As an professional horsewoman, Kemp-Welch held an innate understanding and love for equine topics, with a particular affection for working horses and different agricultural animals. Born in Bournemouth, Kemp-Welch was enormously impressed by the Dorset shoreline and the New Forest, in her painted landscapes and environments,” stated a spokesman for the exhibition.
“In Her Personal Voice, is an exhibition which supplies energy to the painted visible language and spirit of Lucy Kemp-Welch by a significant retrospective of her works.”
The exhibition will coincide with the launch of the biography In Her Personal Voice, by artwork historian and creator David Boyd Haycock. The ebook, which is because of be revealed subsequent yr, will give attention to key works and moments in Lucy’s profession, and spotlight the affect of Hubert von Keromer’s teachings on her methods.
“We’re delighted to have the ability to host a significant exhibition of Lucy Kemp-Welch’s work, in her house city, and we all know that our founder, Merton Russell-Cotes, was a eager admirer of the artist and an advocate for feminine artists. He owned two of her works and in his autobiography, described how she ‘sprang up in an exceptional manner … making her mark immediately’,” stated Sarah Newman, Russell-Cotes supervisor.
“The museum has subsequently acquired 5 extra of her works, and we now have a number of letters written between Kemp-Welch and the museum’s curators in our archive. Combining our assortment with different vital Kemp-Welch work guarantees to supply a visually stimulating and insightful exhibition which we hope will captivate audiences as they journey by her life and work.”
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