ROSE HILTON (BRITISH 1931-2019)
BEACH (2)
signed Rose Hilton lower right; signed, titled and inscribed Beach (2) / oil sketch / Rose Hilton / 2014 on the reverse
oil on canvas
46 x 61cm; 18 x 24in
55 x 70cm; 21 1/2 x 27 1/2in (framed)

ROSE HILTON (LOTS 124-131)

Introduction
You have to give a lot to painting. It's not something you can just dash off. You have to take risks - risk ruining it. You have to know when to stop.
Rose Hilton

Rose Hilton, along with her seven siblings, was brought up by strict Plymouth Brethren parents in Kent. Studying at Beckenham Art School after the Second World War she had been expected to go on to train as a teacher, but secretly applied to the Royal College of Art and was awarded a scholarship, much to the consteration of her parents. In her RCA cohort was Peter Blake; on the year above was Frank Auerbach. The college's focus on figurative work suited Hilton and she graduated in 1957 with a first class degree and prizes in painting and life-drawing.

Rose fell for Roger Hilton in 1959, introduced by Sandra Blow. She called him her 'Jesus of the art world'. They had a son - Bo - in 1961, married in 1965 and set up home together in three 19th century crofters cottages high on the cliff tops at Botallack, West Cornwall. There, John Wells, Peter Lanyon, Terry Frost and Patrick Heron were in their circle of artist-friends. But Hilton decreed that there was only room for one artist in the household and forbid Rose to paint. Instead she focused on raising her family and supporting her husband.

But following Hilton's death in 1975, Rose returned to painting and two years later had her first solo exhibition at the Newlyn Gallery. The house became a hive of activity, described as ‘chaotic’ by many, there were always people coming and going, and frequent parties. A conservatory was added which became her studio, providing the perfect light in which to work.

The tranquility of the space suggested the luminous interiors of work by Bonnard, his use of light in his interiors greatly influencing Rose's style. As Ian Collins noted 'Rose had alsways loved the intimacy and accessibility of Bonnard's brilliantly lit domestic interiors... particularly the glowing and jewel-like effects that can be achieved through layers of underpainting, a technique she has always loved' (Collins, Rose Hilton, London, 2016). Although she used professional models, she preferred to ask friends and family to sit for her. Typically she focused on the shape of the person rather than their physical identity. Much of her later figure work is more abstract, the figurative not necessarily taking centre stage in the composition, but being one element of many.