Richard Eurich developed his ability to paint the sea (this is Penzance, Cornwall in 1937) in all its moods and in all weathers. He concentrated on what he saw as 'the problems,' by which he meant the structure of water and a background featuring harbours and landscapes.

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The Concert.' (1954) In mid-1950s there was a shift in the way David Park painted, he began to embrace a more representational approach to painting and specifically painting the figure: 'not so much their actual appearance from a reportorial standpoint – but their aura.'

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A jewel casket, what an evocative object. Such a thing could contain all manner of treasures & secrets. And to be gifted one - not by your husband, but by your lover, in wood firmly bound with iron bands, a miniature strong box for you alone to have power over. (Jane Morris’s casket at Kelmscott)

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I just saw this (again) at the Art Institute of Chicago! It’s so enigmatic, and the composition is stunning.

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When Paul Feiler moved to Cornwall in the early 1950s, he joined a community which had established itself as the centre of avant-garde British art in the post-war years. His works are studies in light and shadow, space and solid objects, geometric shapes against organic forms.

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