Isabel Nicholas

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Isabel Nicholas was born in the East End of London, the daughter of a master mariner. She was raised in Liverpool and the Wirral. She studied at the Liverpool College of Art, won a scholarship to the Royal Academy in LondonIsabel Rawsthorne 1912–1992 Paintings, Drawings and Designs, Harrogate, 1997 and spent two years in the studio of the sculptor Jacob Epstein.J. Rose, Demons and Angels: A Life of Jacob Epstein, London, 2002

Rawsthorne's two years with Epstein and their mutual enthusiasm for Rodin developed her ideas about vitalism and movement, but she never became part of British neo-romanticism. She then moved to Paris, where she continued her studies of the nude at the liberal Académie de la Grande Chaumière. She associated with Giacometti, Tristan Tzara and the Surrealist circle, but was committed to a figurative form of modern art which she called 'Quintessentialism'.P. Rose Pulham, 'Isabel Lambert' Isabel Lambert, London, 1949 She maintained connections to an alternative circle of representational artists including Francis Gruber and Peter Rose Pulham, as well as Balthus and Derain. Her outlook was anti-idealist, intellectual and, like Giacometti, she saw painting from the real world as a challenge that could never be fully met.

Rawsthorne's work was dominated by the body, primarily paintings of figures and animals. Her father supplied exotic creatures to British zoos, and, as a child, she took to drawing these and other wildlife.{{Cite web |title=Isabel Rawsthorne Rediscovered: The Poetry in Things |url=https://heni.com/talks/isabelrawsthorne |access-date=2025-02-13 |website=HENI Talks |language=en}} Later she became interested in natural history and new ideas in Anthropology, Ecology and Ethology, such as those of her friends Michel Leiris and Georges Bataille. These inform the skeletal bird, fish and bat figures of her 1949 Hanover Gallery show, the haunting ape series, and her last, large Migration pictures.

Rawsthorne was at the heart of the Paris avant-garde and became involved with Alberto Giacometti.V Wiesinger, Alberto Giacometti, Isabel Nicholas, Correspondences, Paris, 2007 They shared many intellectual enthusiasms and a commitment to a modern form of representational painting. Her characteristically astonished gaze and defiant stance can be seen in the new kind of etiolated figure that Giacometti developed over the next decade.[http://www.duisburg.de/micro2/lehmbruck_en/medien/bindata/GiacomettiFlyer_29E.pdf For example The Chariot, text]

During the Italian Campaign, she edited the magazine Il Mondo Libero.

During the 1940s, Rawsthorne adapted animal, archaic and pre-historic imagery into motifs of birth, sexuality and death. She did not share the fashionable interest in the formal properties of Oceanic or Archaic art. Instead, she investigated the uncanny 'presence' achieved by ancient figures, especially Egyptian sculpture. She also studied this quality in Early Renaissance paintings, and in the evidence of the body itself, X-rays, skeletons, figures and animals she found in the countryside or drew in London Zoo.{{citation needed|date=April 2024}}

From 1949, she and Bacon showcased their figurative brand of modern art at the Hanover Gallery, and she exhibited in group shows organised by the ICA and the British Council. She began a career as a designer for the Royal Ballet and the opera at Covent Garden and Sadler's Wells.{{cite news |last=Kennedy |first=Maev |title=Isabel Rawsthorne: elusive painter who led the art world a merry dance |url=https://www.theguardian.com/artanddesign/2013/mar/26/isabel-rawsthorne-art-dance-exhibition |work=The Guardian |date=2013-03-26 |accessdate=2016-06-25}}

In the 1950s and '60s, her explorations of the embattled origins of art and life were adapted into designs for the ballet and opera, such as a Minoan Tiresias created for the ballet. An opera of the same name premiered in 1951 at Covent Garden, featuring the last work of her husband Constant Lambert. She continued her studies of the body, in motion this time, in the practice rooms of the Royal Ballet. Over the next twenty years, she painted images of Fonteyn, Rudolph Nureyev, Antoinette Sibley and other dancers which developed a vivacious new language of movement.{{citation needed|date=April 2024}}

From the 1950s onwards, she developed a series of paintings based on the Essex countryside. Existential rather than pastoral, they responded to environmentalist publications such as Rachel Carson's Silent Spring.

In 1961, she worked from the figure and landscape in Nigeria shortly after its Independence, at the Zaria Art School with the artist Clifford Frith (grandson of William Powell Frith).{{citation needed|date=April 2024}}

Rawsthorne explored the ambiguities of appearance through the theme of the double – for instance, reflections, such as those seen in the practice room mirrors. During the late 1960s and '70s, the deaths of Giacometti and her third husband, Alan Rawsthorne, prompted her to refine these ideas in a set of ethereal double portraits juxtaposing living, dead and sculpted likenesses.[http://www.npg.org.uk/collections/search/person.php?search=sa&OConly=true&sText=rawsthorne&LinkID=mp08058&role=art For example, Reflected Portrait of Alan] These works returned to the matière relief effects of the early 1950s and exchanged ideas with Bacon and the sculptor Roy Noakes[http://www.npg.org.uk/collections/search/person.php?search=sa&sText=noakes&LinkID=mp07953&role=art]. Some of these new works and a selection of her innovative dancers were presented to the public at the Marlborough Gallery [http://www.marlboroughfineart.com/] in 1968.Isabel Lambert, Marlborough Gallery, London, 1968

The last of her series of paintings based on the Essex countryside, Migrations, embedded bird and animal motifs in timeless settings. The extraordinary brushwork and relief effects developed over a life-time of drawing in close association with sculptors, was combined with a new potency of colour and epic scale. Swathes of yellow evoke the deserts of pre-history and post-history, as well as the very immediate issue of the fields of oil seed rape that were appearing in the 1970s.{{Cite web |title=Isabel Rawsthorne: artist and muse {{!}} Art UK |url=https://artuk.org/discover/stories/isabel-rawsthorne-artist-and-muse |access-date=2025-02-13 |website=artuk.org |language=en}}

In later life, widely read biographies of Giacometti and Bacon brought Rawsthorne fame as a model and muse,Lord, Giacometti: A Biography; D Farson, The Gilded Gutter Life of Bacon, London,1993 but unfortunately had the effect of obscuring her main profession. By the 1980s, she was better known as a once beautiful siren, or the bon viveur that Bacon partied with and painted as 'Isabel Rawsthorne'.The Estate of Francis Bacon [http://www.francis-bacon.com/world/isabel-rawsthorne/?c=People] {{Webarchive|url=https://web.archive.org/web/20110711022841/http://www.francis-bacon.com/world/isabel-rawsthorne/?c=People|date=11 July 2011}} accessed 26 January 2010 Since her death, however, serious scholarship has ensued, several paintings have entered public collections{{cite web |url=http://www.npg.org.uk/collections/search/person.php?search=sa&OConly=true&sText=rawsthorne&LinkID=mp08058&role=art|title=Search the Collection: Isabel Rawsthorne (nee Nicholas) |accessdate=14 August 2017|work=National Portrait Gallery}}{{cite web |url=http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2615&page=1 |title=Isabel Rawsthorne (1912–1992) Artworks |accessdate=14 August 2017|work=Tate}} and retrospectives have been exhibited. It is believed that Rawsthorne's last work was Sparrowhawk,'' which was found on her easel after her death.{{cite news|url=https://heni.com/talks/isabelrawsthorne|author=Carol Jacobi|title=Isabel Rawsthorne Rediscovered: The Poetry in Things|work=HENI Talks}}

• Isabel Nicholas: Animal Studies, Arnold Haskell's Valenza Gallery, London, 1933{{r|cage|p=38}}
• Watercolours by Paul Nash, Frank Dobson, P.H. Jowett, Adrian Allinson, Isabel Nicholas, Redfern Gallery, London, 1934{{r|cage|p=42}}
• Isabel Lambert: Recent Paintings, Hanover Gallery, London, 1949{{r|cage|p=204}}
• London-Paris (New Trends in Paintings and Sculpture), Institute of Contemporary Arts, London, 1950,{{r|cage|p=224}} 1955
• Isabel Lambert, Michael Ayrton, Milan, 1950{{r|cage|p=222}}
• Exhibition of Drawings, Institute of Contemporary Arts, London, 1951
• Recent Trends in Realist Painting, Institute of Contemporary Arts, London, 1952{{r|cage|p=230}}
• Exhibition of Paintings, Institute of Contemporary Arts, London, 1954
• Contemporary English Theatre Design, Arts Council of Great Britain, 1957
• Isabel Lambert - Recent Paintings, Hanover Gallery, London, 1959{{r|cage|p=306}}
• Three Stage Designers: Leslie Hurry, Isabel Lambert, Sophie Fedorovitch, Arts Council of Great Britain, 1963/64{{r|cage|p=294}}
• Dancers of the Royal Ballet: An Exhibition of Drawings and Gouaches by Isabel Lambert, Mermaid Theatre, London, 1966, Arts Council Gallery, Cambridge, 1967{{r|cage|p=352}}
• Isabel Lambert, Marlborough Fine Art, London, 1968{{r|cage|p=398}}
• Isabel Lambert: Exhibition of Work, Framlingham Art Gallery, Suffolk, 1974{{r|cage|p=379}}
• Isabel Lambert: Dancers in Action. Drawings, paintings, stage designs, October Gallery, London, 1986{{r|cage|p=387}}
• Exhibition of work, Fry Art Gallery, Saffron Walden, 1990
• Isabel Rawsthorne 1912–1992 A Memorial Retrospective, Woods Gallery, Leicester, 1992
• Isabel Rawsthorne 1912–1992 Paintings, Drawings and Designs, Mercer Art Gallery/October Gallery 1997-98
• Isabel Rawsthorne: Natural History, Oxford University Museum of Natural History, 1998–1999
• Transition: The London Art Scene in the Fifties, Barbican Art Gallery, 2002
• Epstein and Isabel: Artist and Muse, Harewood House, 2008.
• Friends and Lovers, Number 3, The Old Workhouse, Pateley Bridge, 2008-9
• Alberto Giacometti "Die Frau auf dem Wagen" Triumph und Tod, Lehmbruck Museum, Duisburg, 2010
• Migration, The Old Workhouse, Pateley Bridge, 2010
• Isabel Rawsthorne: Moving Bodies, The New Art Gallery Walsall, 2012
• Alberto Giacometti and Isabel Rawsthorne, a Conversation, Tate Britain, 2022
• The Many Sides of Isabel Rawsthorne: the story of a local and international artist, Fry Art Gallery, 2022

• Tiresias, Sadler's Wells Ballet, 1951{{r|cage|p=271}}
• Elektra, Sadler's Wells Opera, 1953{{r|cage|p=294}}
• Blood Wedding, Sadler's Wells Ballet, 1953{{r|cage|p=294}}
• Coppélia, Sadler's Wells Ballet, 1953{{r|cage|p=294}}
• Life's a Dream, The Group Theatre, 1953{{r|cage|p=294}}
• Madame Chrysanthème, Sadler's Wells Ballet, 1955{{r|cage|p=294}}
• Jabez and the Devil, The Royal Ballet, 1961{{r|cage|p=309}}

She was the mother of Epstein's son Jackie (born 1934), and briefly assumed the name "Margaret Epstein" (the name of Epstein's wife) in order to register Jackie's birth.{{r|cage|p=53}}

Rawsthorne's first show was a sell-out, and, by September 1934, she was living in Paris. She worked with André Derain, and lived and travelled for a time with Balthus and his wife. She was painted several times by Derain and Pablo Picasso.{{cite web|url=http://www.yorkshirepost.co.uk/art/Isabel-Rawsthorne-The-woman-who.4394719.jp|title=Isabel Rawsthorne: The Woman who was a walking Work of Art|date=15 August 2008|accessdate=20 January 2010|work=Yorkshire Post|archive-date=2 December 2008|archive-url=https://web.archive.org/web/20081202202734/http://www.yorkshirepost.co.uk/art/Isabel-Rawsthorne-The-woman-who.4394719.jp|url-status=dead}} In 1936, she married her first husband, the foreign correspondent for the Daily Express, Sefton Delmer.{{cite web |author=Martin Gayford|url=https://www.telegraph.co.uk/culture/4714993/More-than-a-face-to-remember.html|archive-url=https://web.archive.org/web/20130225160907/http://www.telegraph.co.uk/culture/4714993/More-than-a-face-to-remember.html|url-status=dead|archive-date=25 February 2013|title=More than a face to remember |date=25 July 1998|accessdate=11 August 2017|work=The Daily Telegraph}}{{r|cage|p=63}}

The onset of World War II forced Rawsthorne to leave Paris. She relinquished at least one ticket out and did not flee until the day the Germans arrived on 14 June 1940.{{citation needed|date=April 2024}}

She remained with Delmer for the first part of the war, but they later divorced in 1947.{{r|cage|p=194}} She maintained indirect links with France by working in intelligence and black propaganda for the Political Warfare Executive.S. Delmer, Black Boomerang[http://www.seftondelmer.co.uk/] accessed 26 January 2010

Around 1943, she encountered Francis Bacon within the arty set around the BBC, although they probably did not become intimate until a few years later. Rawsthorne's closest wartime friends appear to have been John Rayner (typographer, journalist and soldier (SOE), the photographer Joan Leigh Fermor (then Rayner), the Schiaparelli model Anna Phillips, and the composer Elizabeth Lutyens, but her social life encompassed many others including the poets Louis MacNeice and Dylan Thomas (she shared working quarters with Thomas), Ian Fleming, and old friends from Paris, Peter Rose Pulham, Peter Watson (editor of the journal Horizon) and the spy Donald Maclean.C. Jacobi, "Cat's Cradle – Francis Bacon and the Art of 'Isabel Rawsthorne'", Visual Culture in Britain, Manchester, 2009.

Returning to Paris in 1945, Rawsthorne was re-united with Giacometti and lived with him for a short while, but they never married.J Lord, Giacometti: A Biography, London, 1983{{cite web |author=Carol Kano|url=https://www.nytimes.com/2005/11/20/arts/design/20kino.html?pagewanted=all |title=Real Women Have Curves |date=20 November 2005|accessdate=10 May 2017|work=The New York Times}} She continued to be involved in the evolution of the figurative style associated with Existentialism. She socialised with Simone de Beauvoir, Jean-Paul Sartre, Jean Wahl and other intellectuals, and for a time lived a few doors away from the headquarters of the journal Les Temps Modernes. She also entertained the philosopher A. J. Ayer in Paris, saw Eduardo Paolozzi and Bacon, and had relationships with Georges Bataille and the composer René Leibowitz. In the winter of 1946/47 she withdrew to modest lodgings in the Indre to work alone. The composer Constant Lambert visited her in 1947 and they married later that year.Lloyd, Stephen. Constant Lambert: Beyond The Rio Grande. Woodbridge: The Boydell Press, 2014; {{ISBN|978-1-84383-898-2}}{{r|cage|p=202}}

Following her second marriage, her base became London. Her art world associates, including Bacon and Lucian Freud, created a potent mix with a glitzier musical set, including the Sitwells, Lutyens, Frederick Ashton, Margot Fonteyn and Alan Rawsthorne.D. Heyes, 'Rawsthorne and Lambert' (1996), The Friends of Alan Rawsthorne [http://www.musicweb-international.com/rawsth/heyes.htm]. Accessed 26 January 2010.

Lambert died in 1951{{r|cage|p=286}} and Rawsthorne returned to Paris to paint. She continued to see Giacometti, but eventually married Alan Rawsthorne in 1951.{{r|cage|p=297}} They moved to a thatched cottage in rural Essex with a purpose built studio, near friends such as the politician Tom Driberg, poet Randall Swingler, artists Michael Ayrton and Biddy and Roy Noakes; Bacon had a house not far away. Six of Bacon's portraits of Rawsthorne were shown in his 1967 show, including Portrait of Isabel Rawsthorne.{{cite web |title=Catalogue entry:Portrait of Isabel Rawsthorne (1966) Francis Bacon |url=http://www.tate.org.uk/art/artworks/bacon-portrait-of-isabel-rawsthorne-t00879 |publisher=Tate |accessdate=11 August 2017}} In all, between 1964 and 1970 he painted 14 images of her, including five triptychs. Giacometti died in 1966, Alan Rawsthorne in 1971, and Isabel Rawsthorne in 1992; Bacon outlived her by a few months.{{r|cage|pp=286, 338}} Apart from visits to London and Paris, Africa, Greece and Australia, and a short period in Cambridge (1972-3), she lived in the cottage for forty years - half of her life. She raised geese, a nod to her interest in Konrad Lorenz, and became involved in the emergent environmentalist movement. She and her last husband are buried in Thaxted churchyard.[http://www.thaxted.co.uk/?History_of_Thaxted:Thaxted_Parish_Church Thaxted churchyard].

• P Rose Pulham, 'Isabel Lambert' Isabel Lambert, catalogue, London: Hanover Gallery, 1949
• J Lord 'Sudbury Cottage', A Gift for Admiration, Further Memoirs, Farrar Straus & Giroux, New York, 1998
• V Wiesinger, Alberto Giacometti, Isabel Nicholas, Correspondences, Paris: FAAG, 2007
• V Wiesinger and M Harrison, Isabel and Other Intimate Strangers, New York: Gagosian Gallery, 2008
• Carol Jacobi, 'Muse and Maker: Isabel Lambert and Alberto Giacometti' Alberto Giacometti "Die Frau auf dem Wagen" Triumph und Tod, catalogue ed. Veronique Wiesinger and Gottlieb Leinz, Duisburg Museum, Germany, Jan 2010
• [https://www.francis-bacon.com/outofthecage Carol Jacobi, Out of the Cage: The Art of Isabel Rawsthorne, London: The Estate of Francis Bacon Publishing, Feb 2021]

• {{Art UK bio}}
• Interview, Woman's Hour, BBC Radio 4 [http://www.bbc.co.uk/radio4/womanshour/2005_36_fri_03.shtml]
• Ballet designs Royal Opera House[http://www.rohcollections.org.uk/CollectionDesLambert.aspx]
• The Chariot, Lehmbruck Museum [http://www.duisburg.de/micro2/lehmbruck_en/presse/press_release_alberto_giacometti.php]
• Photograph of Isabel Lambert (Rawsthorne), The Estate of Francis Bacon [https://web.archive.org/web/20110711022841/http://www.francis-bacon.com/world/isabel-rawsthorne/?c=People]

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Category:1912 births

Category:1992 deaths

Category:20th-century English women artists

Category:Alumni of Liverpool College of Art

Category:Alumni of the Académie de la Grande Chaumière

Category:Alumni of the Royal Academy Schools

Category:Painters from Liverpool

Category:English artists' models

Category:British modern painters