Student Artwork Guide
Copyright This work is in the public domain. Ethel Walker died in 1951; copyright lasts 70 years after the artist’s death, so it ended in 2021.
In context
Flora Robson — Ethel Walker
The original measures 62 × 52 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 90 at death.
Painted when the artist was 71. The artist lived to 90. 33 of the 54 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Ethel Walker (1861–1951) ▲ this work, 1932 every dated painting, decade by decade
First works: up to 1920 Main working years: 1920–1936 Late works: from 1936
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: topimpressionists.com/en/art/similar/ethel-walker-flora-robson-AQUHKB-en/
Measured from the image
Main colour
Gray #8a8172
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 69.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 92 works by this artist, of which 31 were looked at at least once. This painting ranks 10 of them, with 2.8% of that attention. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Dame Ethel Walker (1861-1951) stands as a compelling figure in the transition from Victorian tradition to Modernist expression, a Scottish painter whose vibrant canvases captured not only the beauty of her subjects but also a spirit of independence that resonated throughout her life. Born in Edinburgh, Walker’s artistic journey began with formal training at Putney School of Art and Westminster School of Art before culminating in studies at the prestigious Slade School of Fine Art between 1892 and 1894. This education provided a solid foundation, but it was her travels to Spain and Paris – encounters with masters like Velázquez and the Impressionists – that truly ignited her artistic vision. She established a studio in Chelsea, which would remain her creative base for the rest of her life, becoming a hub for her distinctive style and bold explorations.
Walker’s early work demonstrated a keen eye for portraiture, flower pieces, and seascapes, but it was her embrace of Impressionistic techniques that set her apart. Her brushwork became looser, more expressive, prioritizing the capture of light and atmosphere over meticulous detail. This stylistic shift wasn't merely aesthetic; it reflected a broader desire to move beyond conventional artistic norms. In 1900, she achieved a landmark accomplishment: becoming the first woman elected as a member of the New English Art Club (NEAC). This was a significant breakthrough in a male-dominated art world and signaled her growing recognition among progressive artists. Her work during this period reveals influences from Puvis de Chavannes and Asian art, blending classical forms with a modern sensibility. Walker’s paintings were exhibited widely at the Royal Academy, the Royal Society of Arts, and the Lefevre Gallery, establishing her reputation as one of Britain's leading female artists.
Walker’s success extended beyond British shores. She represented Britain at the Venice Biennale four times – in 1922, 1924, 1928, and 1930 – a testament to her international acclaim. Despite achieving considerable recognition, Walker maintained an independent spirit, famously declaring that “there is no such thing as a woman artist; there are only two kinds of artist – bad and good.” This statement, while seemingly dismissive of gendered artistic categories, can be interpreted as a rejection of the limitations placed upon female artists during her time. In 1932, she was elected Honorary President of the Women's International Art Club, demonstrating her commitment to supporting fellow female creatives. Her large-scale decorative compositions, such as Zone of Hate (1914-15) and Zone of Love (1930-32), now housed in the Tate Collection, explored complex themes with a unique visual language.
Following her death in 1951, Walker’s work fell into relative obscurity for several decades. However, recent scholarship has brought renewed attention to her life and art, recognizing her as a pioneering figure whose contributions were previously overlooked. Her paintings are now celebrated for their vibrant colors, expressive brushwork, and bold depictions of the female form. Critically, it is increasingly acknowledged that Walker was a lesbian artist, a fact evident in her preference for women sitters and nude studies. She fearlessly explored themes of sensuality and desire at a time when such representations were rarely seen in mainstream art. Her work challenges traditional notions of beauty and sexuality, offering a glimpse into the lives and experiences of women during the early 20th century. Walker’s retrospective at the Tate in 1951 alongside Gwen John and Frances Hodgkins was an important step towards recognizing her significance, but it is only recently that her full artistic legacy has begun to be appreciated. She remains a powerful symbol of artistic independence, challenging conventions and paving the way for future generations of female artists.
Born: 9 June 1861, Edinburgh, Scotland
Died: 2 March 1951, London, England
Key Influences: Impressionism, Puvis de Chavannes, Gauguin, Asian Art
Notable Achievements: First female member of the New English Art Club (1900), Represented Britain at the Venice Biennale four times.
topimpressionists.com/en/art/download/ethel-walker-flora-robson-AQUHKB-en/
Look closely
Flora Robson — Ethel Walker
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
gray (#8a8172) is the leading color of "Flora Robson" by Ethel Walker.
"Flora Robson" is available as a hand-painted oil reproduction on linen canvas. The order can be placed on its Hand-Painted Reproduction page, with a choice of sizes.
The perceived brightness of "Flora Robson" by Ethel Walker is balanced. It can be matched to the light of the intended space.