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Laura Knight (British, 1877-1970), Ella Ardelty on the High Trapeze. Oil on canvas, 60 x 50 cm.

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Conglomerat, 1943, Wassily Kandinsky

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The Cruel Sea, Dame Laura Knight, 1967

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Dame Laura Knight: Self-portrait with Model Ella Louise Naper, 1913.

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Girl Stands in a Field Reading Her Book. Harold Knight (English, 1874-1961).

After spending time in Paris, studying art under Jean-Paul Laurens and Jean-Joseph Benjamin-Constant, then at Staithes on the North Yorkshire coast, Harold Knight moved in 1907, with Laura, to Newlyn, a fishing port in Cornwall, where they became part of the Newlyn School.

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The Reader (c.1910). Harold Knight (English, 1874-1961). Oil on canvas. Royal Pavilion, Libraries & Museums, Brighton & Hove.

Knight studied at Nottingham School of Art under Wilson Foster. It was there that he met his future wife, Laura Johnson. Harold was a quiet character who is largely remembered, unfairly, as an adept but unexciting painter, while Laura (later Dame Laura) was flamboyant in both her life and art and achieved greater public renown.

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A woman reading in a garden (c.1900). Harold C. Harvey (British, 1874-1941). Oil on canvas.

The setting of this picture is Laura and Harold Knight’s cottage at Oakhill, Lamorna Gate. Harvey, along with Laura and Harold Knight, and Dod and Ernest Proctor, revived the fortunes of Newlyn painting in the early years of the twentieth-century. 

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Picking Wild Flowers, Santa Cruz c.1927

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Harold Harvey  -  Into the Fields 

British, 1874-1941

Oil on canvas

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Harold Harvey (English, 1874-1941)

At the Dressing Table

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Fog in Stretford, Greater Manchester, November 24, 1958

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Combinations (or The Combined Dalinian Phantasms; Ants, Keys, Nails), 1931, Salvador Dali

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L’amore (Roberto Rossellini, 1948)

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Izis Bidermanas,  Dora Maar, 1940 Pablo Picasso, Dora Maar with Green Fingernails

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Hannah Sullivan, from Repeat Until Time: The Heraclitus Poem

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Icon painting motifs, 1912, Natalia Goncharova

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The eerie concerns the unknown; when knowledge is achieved, the eerie disappears. [...] There must be also be a sense of alterity, a feeling that the enigma might involve forms of knowledge, subjectivity and sensation that lie beyond common experience.

Mark Fisher, The Weird and the Eerie