Eric Harald Macbeth Robertson

(British, 1887-1941)

'Nude Girl'

Footnotes

Provenance
The artist's studio, thence by descent.
With The Maas Gallery, London.
Private collection, UK.

Robertson was credited as one of the most brilliant art students of his time. Together with his first wife, Cecile Walton (1891-1956), they became the most controversial members of The Edinburgh Group who exhibited before and after the First World War. Robertson gained a degree of notoriety in Edinburgh with his frank portrayal of the female nude and it was said that 'half Edinburgh goes to Shandwick Place [The New Gallery] secretly desiring to be righteously shocked, and the other half goes feeling deliciously uncertain it may be disappointed by not finding anything sufficiently shocking.' (The National Outlook, November 1920, pp102-3).

This reclining position was one that Robertson had previously asked his models to pose in. There is a pencil sketch, signed and dated October 15th 1915, inscribed 'Margery' (previously with The Maas Gallery), that depicted the artist's sister-in-law in the same position. This has previously led to the present artwork being incorrectly thought of as Margery being the sitter.
However, the artist's diary from 1921, mentions using a professional model named as Miss Slade to sit for a figurative painting during the months of April/May. The work was then put to one side until October, when the painting was completed and given the title 'Nude Girl'. It also appears as a listing in the artist's catalogue as 'Nude Girl', completed in 1921, oil 40 x 60 in. It was never exhibited during Robertson's lifetime.

'Nude Girl' is a wonderful and rare example of Robertson's depiction of the beauty of the female body on such a large canvas. The composition is marvellously bold, yet the subtle rendering sitter's opalescent skin and youthful beauty is incredibly sensitive. Her voluptuous lips and flushed cheeks only enhance the feeling of sensuality.

We are grateful to John Kemplay for his help in researching this work.