signed 'Emmy Bridgwater' (lower left), signed again, inscribed and dated 'The Kill (1942)/Emmy Bridgwater/57A Rother St./STRATFORD-ON-AVON' (on a label attached to the reverse)
oil on board
14 x 18 in. (35.5 x 45.8 cm.)
There is a portrait of a woman on the reverse.
Artist or Maker
Emmy Bridgwater (1906-1999)
Milan, Palazzo Reale, I Surrealisti, May - September 1989, not numbered.
Frankfurt, Schirn Kunsthalle, Die Surrealisten, November 1989 - February 1990, not numbered.
Aldeburgh, Peter Pears Gallery, Festival Exhibition, June 2006, no. 33.
Exhibition catalogue, I Surrealisti, Milan, Palazzo Reale, May - September 1989, p. 457, illustrated.
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Contrary to the widespread, although unfounded, criticism levelled at the Surrealists for having supposedly considered women as 'objects', British women Surrealists, such as Eileen Agar, Ithell Colquhoun, Edith Rimmington and Grace Pailthorpe proved to be perfectly independent and at least as creative and inventive as men. In this case, Emmy Bridgwater derives her singular force from a kind of sedate precipitation of life and death one against the other. A sense of inchoativeness as well as a sense of finality haunt her works undecisively. Here, the feline creature and the vegetal in the foreground are elemental forces which challenge the power of man reduced to a quarry and the kill is the moment which brings the human creature to a deeply buried, primordial world. The raging war is obviously not alien to this vision.
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