Charles Cundall (1890-1971)
|Artist Name||Charles Cundall (1890-1971)|
|Title||A Conversation Piece - Family in an Interior|
|Description||This interesting British Post Impressionist figurative interior oil painting is by noted artist Charles Cundall and entitled A Conversation Piece. Painted circa 1955 the composition is the interior of a living room with a couple and their two young children, cat and dog. It is full of fascinating details such as the display of porcelain figures in the wall unit, the wonky lampshade on the piano with lovely reflections in its metal base, the slightly shabby walls, the two inviting open doors to other rooms, the way the whole family are looking at the dog (of course!) as it eyes up the tray of tea. Perhaps the dog is in fact the conversation piece of the family and life revolves around him the way the painting does. Is it the artist's family? An excellent example of Cundall's work and life with a dog.
Signed lower right.
|Provenance||Gallery label verso.|
|Medium||Oil on Canvas|
|Size||30 x 25 inches|
|Frame||Housed in a gallery frame, 39 inches by 34 inches framed and in good condition.|
|Biography||Charles Cundall (1890-1971) - painter, potter and stained glass artist, born in Stratford, Lancashire. After working as a designer for Pilkington's Pottery Company under Gordon Forsyth, Cundall studied at Manchester School of Art, obtaining a scholarship to the Royal College of Art, 1912.
After World War I army service he returned to the Royal College in 1918, then from 1919 to 1920 attended the Slade, and furthered his studies in Paris. Cundall travelled widely in several continents and became noted for his panoramic pictures, such as Bank Holiday Brighton, in the Tate Gallery (accession no. NO4700). He was a member of NEAC, RP, RWS and other bodies and was a prolific RA exhibitor. He had first solo show at Colnaghi 1927.
He was an Official War Artist in World War II, during which time he was sent to Quebec (1944). In the same year he was elected RA. His wife was the artist Jacqueline Pietersen. His technical facility - especially when working on large panoramic canvases - was remarkable. His pictures are rich with texture, light and movement. He was equally at ease with aerial views, landscapes, seascapes and cityscapes, and was a master of crowd scenes. His work as an Official War Artist has never received the attention it merits.