GWEN JOHN (BRITISH, 1876-1939)
A Girl and Two Nuns in Church
signed 'Gwen John' (lower right)
gouache and watercolour
16 x 14 cm. (6 1/4 x 5 1/2 in.)

Exhibited
London, Anthony d'Offay, Gwen John 1876-1939 Centenary Exhibition, 3-26 Mar 1976, cat.no.44

"Gwen John taught me to be quiet in my art. She taught me that silence could be as important as what is said" - Celia Paul

Born in 1876 in Wales, Gwen John, is without a doubt, one of the most significant figures within the 20th-Century British art scene. Despite her place alongside that of her brother Augustus John, her contributions extend far beyond these familial ties, and in her own right she holds a significant space within the story of British art. Her works have been characterised in their subdued, soft and subtle pallets and their introspective stillness.

The prominence of portraiture in her oeuvre makes it unsurprising that, in her writing for the Gwen John 1876-1939 Centenary Exhibition at Anthony d'Offay, Mary Taubman remarked, "For every Gwen John portrait, no matter how carefully observed and exquisitely executed, there is, in a sense, also a self-portrait." John’s inner world is captured in many examples of her work with a sense of poise and serenity. She is remembered for her somewhat reclusive lifestyle and her preference for introspective themes, whether this is demonstrated in the exploration of her own image through delicately rendered self-portraits or depictions of quiet, intimate spaces such as, A Corner of the Artist’s Room in Paris (circa 1907-9).

In the case of Gwen John’s A girl and two nuns in church, Mary Taubam’s statement could not strike more true. Many of her portraits capture in essence stillness, intimacy, emotional depth and sensitivity, and this gouache is no exception. Converting to Catholicism in her twenties, in 1913, faith became a central aspect of the artist’s identity. Gwen John’s relationship with Catholicism deeply informed her artistic vision, enriching her portrayal of human beings in her portraits. Time and time again John’s artistic process of repetition reflects her deep engagement with a variety of subject matter. In this case, there are many iterations of figures in a church, whether it is her rendering of Two girls in church, Two girls in church, praying or Six small church groups, among many other examples, John dremonstrates her understanding of not only form and expression but also emotion. Repetition becomes in essence both the artist’s process of exploring subject matter and the vehicle in which she is able to uncover layers of meaning and expose her own evolving perspective.

Recent exhibitions, such as "Gwen John: Art and Life in London and Paris" at Pallant House Gallery and her inclusion in Tate Britain’s "Now You See Us: Women Artists in Britain 1520-1920," underscore her impact and importance. John's unique style and perspective position her alongside other notable artists of her time and demonstrate her legacy in the broader narrative of British art.