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| William Roberts Photo by Neil Libbert 1970 © Neil Libbert / National Portrait Gallery, London |
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 20 of a 20-part series on the works of William Roberts:
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| 1976 The Wrestling Match study pencil, squared 15.2 x 20.3 cm |
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| 1976 The Wrestling Match pencil and watercolour 30 x 40 cm |
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| 1976 Washing Day study pencil and watercolour, squared 20 x 15 cm |
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| 1976 Washing Day oil on canvas 61 x 51 cm |
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| 1977 The Zoo oil on canvas 75 x 60 cm |
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| 1977 "Don’t 'e know Jarge, tha be no Resurrection" study pencil and watercolour on paper 22.2 x 15.9 cm Tate Gallery, London |
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| 1977 "Don’t 'e know Jarge, tha be no Resurrection" oil on canvas 61 x 50.5 cm |
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| 1977 Gypsies study pencil and watercolour, squared 15.5 x 19 cm |
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| 1977 Gypsies oil on canvas 63.5 x 76 cm |
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| 1977 The Grandmother study pencil, squared 20.3 x 12 cm |
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| 1977 The Grandmother study watercolour, squared 41 x 25 cm |
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| 1977 The Pipers study pencil and watercolour, squared 18.5 x 15 cm |
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| 1977 The Pipers oil on canvas 76.2 x 63.5 cm |
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| 1977 The Rape of the Sabine Women study pencil, squared 15.2 x 19.7 cm |
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| 1977 The Rape of the Sabine Women study pencil, watercolour and bodycolour, squared 29.5 x 37 cm |
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| 1977 The Swan study pencil and watercolour, squared 19 x 15.3 cm |
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| 1977 The Swan oil on canvas 75 x 60 cm |
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| 1978 Day Out on the River oil on canvas 63 x 76 cm |
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| 1978 Discs study pencil and watercolour on paper 17.2 x 12.7 cm Tate Gallery. London |
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| 1978 Discs oil on canvas 50.8 x 40.6 cm |
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| 1978 Self Service study pencil and watercolour, squared 19 x 15 cm |
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| 1978 Self Service oil on canvas 55.9 x 45.7 cm |
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| 1978 Guarding the Masterpiece study pencil and watercolour on paper 13.3 x 17.8 cm Tate Gallery, London |
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| 1978 The Broken Branch oil on canvas 63.5 x 76.2 cm |
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| 1978 The Swimmers oil on canvas 55.9 x 40.6 cm |
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| 1978 The Truth and Nothing But the Truth oil on canvas 50 x 40.5 cm |
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| 1978 Women Listening to a Recorder Player study pencil, squared 11.3 x 15.2 cm |
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| 1978 Women Listening to a Recorder Player study pencil and watercolour, squared 35.0 x 46.6 cm |
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| 1979 Miming study pencil and watercolour, squared 15 x 29 cm 15 cm x 20 cm |
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| 1979 Miming oil on canvas 50.8 x 61.0 cm |
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| 1979 Speakers' Corner study pencil and watercolour, squared 20.3 x 15.2 cm |
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| 1979 Speakers' Corner oil on canvas 61 x 45.7 cm |
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| 1979 The Vengeance of Odysseus study pencil and watercolour, squared 19 x 13.5 cm |
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| 1979 The Vengeance of Odysseus oil on canvas 61 x 50.8 cm |
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| 1979 The Wrestlers study pencil and watercolour, squared, 17 x 14 cm |
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| 1979 The Wrestlers oil on canvas 75 x 60 cm |
