Design for the costume of Satan in a theatre production. Inscribed 'Satan' and with descriptive notes.
| Categories | |
| Object type | |
| Materials and techniques | Pencil, pen and ink and wash. |
| Brief description | Drawing by Glyn Warren Philpot, R.A. |
| Physical description | Design for the costume of Satan in a theatre production. Inscribed 'Satan' and with descriptive notes. |
| Dimensions | - Image height: 334mm
- Image width: 247mm
Dimensions taken from Victoria & Albert Museum Department of Prints and Drawings and Department of Paintings Accessions 1957-1958 London: HMSO 1964: Height: 30.80 centimetres, Width: 17.15 centimetres. |
| Marks and inscriptions | - 'Satan' (Inscribed)
- (Inscribed with desriptive notes)
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| Credit line | Given by Miss Daisy and Mr Leonard Philpot |
| Subjects depicted | |
| Bibliographic references | - Victoria and Albert Museum Department of Prints and Drawings and Department of Paintings Accessions 1957-1958 London: HMSO, 1964
- The following is an excerpt from ‘Homosexuality in Art’ by James Smalls, published by Parkstone Press Ltd., New York, USA, 2003.
“Early in his career, Philpot was not at all attracted to modernist styles and preferred the aestheticized literary and decorative approach of his fellow countrymen Charles Rickets and Charles Shannon. As time passes, Philpot sought more spiritual rather than purely decorative themes. In the early 1920s, he made a visit to North Africa and was influenced by the art, environment, and availability of sexual activity there.
He then became a full member of the Royal Academy and garnered public and private commissions. Although popular and successful throughout the 1920s, Philpot was dissatisfied with the conservative nature of his painting and began to question his role as an artist. During the 1930s, he began to take an interest in politics, in particular, the effects of the Great Depression at home and the rise of the Fascism in Europe. He then moved to Paris and made frequent trips to Germany. While in Paris, he frequented many of the nightclubs where homosexuals gathered and partook of a very active sex life. In his art, he continued working on combining his interests in politics with suggestively spiritual and explicit homoerotic imagery.”
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Suggest feedback| Record created | June 30, 2009 |
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