A Queer Perspective on Glyn Philpot: Flesh & Spirit - With Dan Vo

Summary

In this insightful exploration, Dan Vo visits Pallant House Gallery to examine Glyn Philpot's art through a queer lens. Vo delves into the artist's depiction of male figures, the tension between attraction and Philpot's religious convictions, and the influence of his time in France and Germany. The discussion highlights Philpot's evolution from traditional to modern styles, his portrayal of marginalized individuals, and the homoerotic subtexts in his work. Vo's commentary invites viewers to consider the deeper narratives and the artist's personal struggles reflected in Philpot's paintings.

Takeaways

• 🌈 Dan Vo visits Pallant House Gallery to explore the works of Glyn Philpot from a queer perspective, focusing on the artist's portrayal of male figures.
• 🎨 Philpot's paintings often depict a tension between attraction to his male models and his religious convictions as a Roman Catholic.
• 🤝 The relationship between Philpot and his subject Henry Thomas is highlighted, suggesting a deeper intimacy beyond a mere artist-model dynamic.
• 👁️ Philpot's paintings frequently feature subjects with averted gazes, inviting viewers to seek connection and engagement with the figures.
• 🌏 The script discusses the global elements in Philpot's work, such as the use of batik fabric, symbolizing connections to Indonesia, Africa, and the Caribbean.
• 🖌️ A transition in Philpot's style is noted, moving from traditional to modern painting techniques, influenced by his time in France and Germany.
• 🤴 The artist's self-portrait reveals his ambition to be a renowned painter of high society and to emulate the old masters.
• 🎭 Philpot's interest in painting people from marginalized backgrounds, such as people of color, the working class, and artists, is emphasized.
• 💡 The script touches on the idea of 'homoerotic desire' in Philpot's work, with subtle hints and coded imagery reflecting his personal struggles.
• 🕊️ A painting of Christ is analyzed, showing Philpot's grappling with religious themes and his own sexuality, presenting a figure of sacredness rather than desire.
• 🏆 The final takeaway discusses Philpot's inspiration from opera and dance, and his use of lead and silver in sculptures, reflecting the jazz age's fascination with glitter and performance.

Q & A

Who is Dan Vo visiting Pallant House Gallery from?

Dan Vo is visiting Pallant House Gallery from Queer, Britain, which is the first LGBTQ+ museum in the country.

What is the significance of Glyn Philpot's works from a queer perspective?

Glyn Philpot's works are significant from a queer perspective because they depict male figures and forms in a way that suggests a tension between attraction and the artist's religious convictions, offering a unique queer eye on the subjects.

What is the relationship between Glyn Philpot and Henry Thomas as depicted in the press image from 1934?

In the press image from 1934, Henry Thomas is shown holding the palette for Glyn Philpot, suggesting an intimate relationship beyond a mere artist-model dynamic, with Thomas being painted regularly by Philpot.

How does the painting of Henry Thomas at Pallant House Gallery reflect a sense of regalness?

The painting of Henry Thomas reflects a sense of regalness through its warm and inviting portrayal, the regal tradition of depicting figures in profile, and the subject's sense of pride suggested by the tilt of his head.

What is the significance of the batik fabric in the background of the painting of Henry Thomas?

The batik fabric in the background of the painting of Henry Thomas signifies a sense of globalness and connects the image to Indonesia, Jamaica, and Britain, reflecting the sitter's origins and the broader context of cultural exchange.

How does Glyn Philpot's later work differ from his earlier style?

Glyn Philpot's later work differs from his earlier style by adopting a more modern approach, with sparingly applied paint, influenced by his time in France and Germany, moving away from his well-known traditional style.

What is the significance of the self-portrait of Glyn Philpot from 1908?

The self-portrait from 1908 is significant as it shows Philpot presenting himself as an ambitious artist, with elements like the palette and paintbrush indicating his profession and aspirations to be a great painter in the tradition of the old masters.

What themes does Glyn Philpot explore in his paintings of people from marginalized backgrounds?

Glyn Philpot explores themes of identity, dignity, and the human condition in his paintings of people from marginalized backgrounds, such as people of color, working-class individuals, and artists or performers.

How does the painting of the young man in a leather jacket reflect the period of wartime?

The painting of the young man in a leather jacket reflects the wartime period through its depiction of a likely RAF serviceman, showing a sense of intimacy and sensitivity rather than heroic masculinity, and alluding to Philpot's work for the armed services.

What is the connection between Glyn Philpot's paintings and the old masters?

Glyn Philpot's paintings are connected to the old masters through his deep interest in their works, his desire to understand their painting techniques, and his attempts to emulate their styles, particularly in his self-portrait and other pieces that show a mastery of color and light.

Outlines

00:00

🎨 Exploring Glyn Philpot's Art Through a Queer Lens

Dan Vo visits Pallant House Gallery to explore the works of Glyn Philpot, a renowned painter known for his portraits of nobility and society. Vo, from Queer Britain, the first LGBTQ+ museum, approaches Philpot's art from a queer perspective, focusing on the artist's depiction of male figures and the tension between his attraction to his models and his religious convictions as a Roman Catholic. Vo discusses a painting of Henry Thomas, noting the intimacy and friendship between the artist and his subject, and the use of batik fabric in the background, which connects the painting to global influences and identities. Vo also touches on Philpot's later modernist style and his interest in painting marginalized individuals.

05:03

👤 Glyn Philpot's Self-Portrait and Artistic Ambitions

The second paragraph delves into Glyn Philpot's self-portrait from 1908, providing insights into the artist's early ambitions and style. Philpot presents himself as a sophisticated and ambitious painter, emulating the old masters. The self-portrait showcases his mastery of color and tone, particularly in the fine details of the face. Vo also highlights Philpot's interest in the arts and crafts movement and how his work follows the lineage of masters like Van Dyck, Rembrandt, and Rubens. A significant painting of a black figure, unseen in public for a century, is discussed for its beauty and the artist's skill in creating depth and dignity through the use of dark tones.

10:06

🖌️ Philpot's Intimate and Homoerotic Art

In the third paragraph, Vo examines Philpot's homoerotic desires as reflected in his paintings, particularly in the intimacy and sensuality of his male subjects. A painting of a young man in a leather jacket, likely an RAF serviceman, is analyzed for its departure from heroic masculinity to a more private and sensitive portrayal. Vo also discusses Philpot's wartime paintings and his interest in the male nude, hinting at what his nudes might have looked like if he had been allowed to paint soldiers bathing. The paragraph concludes with a look at a student with a book featuring Michelangelo's male nude, suggesting Philpot's artistic lineage and his own grappling with homoerotic themes.

15:06

📚 Philpot's Fascination with George Bridgeman and Religious Themes

Vo continues the exploration of Philpot's work by focusing on his fascination with George Bridgeman, another frequent model, and the contrast between Bridgeman's ordinary appearance and the religious reverence suggested by his portrayal. The paragraph also discusses a modernist painting of Christ emerging from the grave, which is laden with tension and represents Philpot's grappling with his religious faith. Vo notes the disconnect in the figure's gaze and the sensuality of the body, suggesting a shift in Philpot's style and themes. The discussion ends with an analysis of a painting inspired by 'The Spirit of the Rose,' which cleverly balances homoeroticism and restraint.

20:10

🏛️ Philpot's Modernist Influences and Performance Art

The fifth paragraph discusses Philpot's modernist paintings, including a study of Felix in a nightclub setting, which challenges traditional notions of masculinity. Vo highlights the artist's use of color and the focus on Felix's gaze, which directs the viewer's attention to another male figure, hinting at Philpot's continued exploration of homoerotic themes. The paragraph also covers Philpot's sculpture inspired by Nijinsky's 'Afternoon of the Faun,' connecting Philpot's work to the jazz age and the glittering, shimmering aspects of performance art. Vo concludes with a reflection on Philpot's portrayal of performers and the significance of the performance aspect in their lives and art.

25:14

🤹‍♂️ The Role of Performance in Philpot's Art

In the final paragraph, Vo ponders the role of performance in Philpot's art, considering the implications of removing the layers of costume and makeup from his subjects. The discussion centers on a painting of Jan Erlend, an athlete, and the idea of performance being crucial to the subjects' survival and livelihood. Vo questions what remains when the performance is stripped away and reflects on Philpot's tendency to leave viewers with a sense of ambiguity about the true identity of his subjects, inviting repeated viewings to discover new insights.

Keywords

💡Queer

In the context of the video, 'queer' refers to a broad spectrum of sexual and gender identities that do not conform to heteronormative standards. It is used to describe the LGBTQ+ community and perspective from which the speaker, Dan Vo, approaches the artworks. The video's theme revolves around exploring the works of Glyn Philpot from a queer perspective, indicating a focus on the potential homoerotic subtexts and the artist's personal interactions with his subjects.

💡Glyn Philpot

Glyn Philpot is a central figure in the video, an artist whose works are being analyzed. He is known for his paintings, particularly of male figures, and for his complex personal life, including his conversion to Roman Catholicism. The script discusses Philpot's artistic style, his depiction of male figures, and the potential underlying themes of attraction and religious conviction in his works.

💡Male Form

The term 'male form' in the video refers to the physical representation of the male body in art. It is a key concept as the speaker discusses Philpot's portrayal of male figures, noting the artist's attraction and the way he captures the male form in his paintings. The video suggests a deeper analysis of these depictions from a queer perspective, considering the possible personal and emotional connections between the artist and his subjects.

💡Homoerotic Desire

Homoerotic desire is a concept explored in the video in relation to Philpot's paintings. It suggests a same-sex attraction that may be subtly expressed in the artist's work. The script points to specific paintings and details, such as the gaze of the subjects, that hint at a deeper, possibly romantic or sexual, interest on the part of the artist.

💡Religious Faith

Religious faith, particularly Roman Catholicism, is mentioned as a significant aspect of Philpot's life that influenced his work. The video discusses the tension between his religious beliefs and his artistic depictions of male figures, suggesting a conflict between his personal convictions and his attraction to his subjects.

💡Intimacy

Intimacy in the video is used to describe the close, personal connection that is suggested between the artist and his subjects, as well as the viewer and the artwork. The script notes the intimate portrayals in Philpot's paintings, where the subjects often appear close to the artist, either literally or emotionally, creating a sense of familiarity and closeness.

💡Modern Style

The term 'modern style' refers to a shift in Philpot's artistic approach later in his career. The video describes how he moved away from his traditional style, known for painting nobility and high society, towards a more modern aesthetic. This change is exemplified in the script by discussing specific paintings that exhibit a lighter application of paint and a departure from his earlier, more traditional works.

💡Marginalized Backgrounds

Marginalized backgrounds in the video relate to the subjects Philpot chose to paint beyond the traditional societal elites. The script mentions people of color, those from working classes, and artists or performers who may not have been typically represented in high art. This choice by Philpot is seen as a way to bring attention to and dignify individuals from these backgrounds.

💡Self-Portraits

Self-portraits are a genre of art where the artist paints themselves. In the video, the speaker appreciates self-portraits for the insights they provide into the artist's self-perception. The script discusses a specific self-portrait of Philpot, noting the elements that reveal his ambitions and identity as an artist.

💡Old Masters

The 'old masters' refers to the great painters of the past, such as Van Dyck, Rembrandt, and Velasquez, whose work Philpot admired and sought to emulate. The video discusses how Philpot's style and technique were influenced by these historical artists, particularly in his earlier work, and how he aimed to capture the grandeur and technique of the old masters in his own paintings.

Highlights

Dan Vo's visit to Pallant House Gallery, the first LGBTQ+ museum in the UK, to explore the works of Glyn Philpot from a queer perspective.

Philpot's depiction of male figures and the male form, suggesting an underlying tension between attraction and religious conviction.

The intimate portrayal of Henry Thomas in Philpot's paintings, indicating a close relationship beyond the artist-model dynamic.

The use of batik fabric in the background of paintings to represent a sense of global interconnectedness.

Philpot's transition to a modern style of painting later in his career, breaking away from traditional techniques.

Philpot's interest in painting marginalized individuals, including people of color, working-class individuals, and artists.

The self-portrait of Philpot, revealing his ambition to be a renowned painter and his connection to the old masters.

The rediscovery and display of a painting unseen by the public for over a century, showcasing the efforts of the exhibition team.

Philpot's mastery of paint application, especially in creating depth and shadow in his depictions of black figures.

The exploration of homoerotic desire in Philpot's paintings, often symbolized through subtle cues and artistic choices.

The influence of Michelangelo on Philpot's work, particularly in the depiction of the male nude and muscular form.

Philpot's portrayal of ordinary individuals, such as a young man in a leather jacket, with an intimate and non-heroic perspective.

The contrast between Philpot's commissioned portraits of Admirals and his more personal, sensitive depictions of ordinary people.

The use of light and shade in Philpot's paintings to convey a sense of allure and intimacy.

Philpot's exploration of themes such as youth, aging, and the precipice of danger, especially in wartime portraits.

The artistic coding in Philpot's work, suggesting a deeper layer of meaning and desire beneath the surface of his paintings.

The connection between Philpot's paintings and his inspiration from opera, dance, and antiquity, reflecting a multifaceted artistic influence.

The final reflection on Philpot's work, inviting viewers to return and discover new insights with each viewing.

Transcripts

Hello.

My name is Dan Vo and I am visiting here at Pallant House Gallery from Queer

Britain, which is the first LGBTQ+ museum in the country.

And so I've been invited here to come to see the works of Glyn Philpot

and sort of cast a bit of a queer eye on some of the objects, and approach

the works from that particular perspective.

What can we tell about the works when we look at his work

and we kind of think about the ways in which he interacted with his own sitters?

I think when I look at them and I am new to a lot of his works,

but I love the way in which he depicts male figures and the male form

and all of that.

But what's really interesting for me to kind of work out is

what is he feeling when he's depicting them?

Because I sense that there's sometimes this sort of tension between the way in

which he sort of feels an attraction to some of the models that he paints.

But at the same time, there's also his religious faith and his conviction

and the fact that he converted into Roman Catholicism as well,

which sort of comes across in some of the works as well.

So I'd love for you to come with me on a journey now to sort of

look at some of the works with that perspective.

And we start here with a press image of Glyn Philpot,

and it's for his show that was in 1934 in London at Leicester Galleries.

And what I find really interesting is that the press photographer

has taken an image of someone who we will come to know very well today

because his name's Henry Thomas, he's holding the palette for him.

He's been placed into a position that is sort of as, as a domestic servant,

but that's not necessarily his position within Philpot's life.

He paints him quite regularly and I think there's this sort of intimacy

that you see within the paintings that's rather remarkable.

It sort of shows us a friendliness.

It shows us an intimacy between the two and if we come across to this

set of paintings over here,

this one lives here at the gallery, and I think it's quite beautiful.

There's a sort of sense of regalness to it that is quite sensational,

the way that he paints this particular painting.

It's warm, it's inviting, but it also gives us a sense of reserve as well.

And if you just tilt slightly, a sense of pride as well.

The painting is of Henry Thomas, and it sort of follows

a tradition of painting regal figures from a profile.

And the thing to me that is remarkable about a lot of Philpot's

paintings is the fact that often the eyes never really match up

with yours and always looking away to the side down.

And so you always have this want to kind of just get their attention

and hold their look and hold their gaze and just interact with them.

And as we do interact with this one,

that batik fabric that you sort of see on the background

for me is really interesting because of the way

in which it sort of shows how there's a sense of globalness to the image.

Already.

You've got the teak, which is from Indonesia,

and then you've got a man who is from Jamaica

and the team here are working desperately hard

to try and find out as much as possible about this particular sitter.

But you've already got some connections between here

Britain, but also Indonesia and also to Jamaica as well.

So as you kind of explore that a little bit more as well, I'm reminded of

the Dutch waxes used in Yinka Shonibare's work as well,

where the fabric itself is used as a way as a marker

of African identity as well, or is used as a marker of Caribbean identity as well.

So often the fabrics are being sold and you can go to local markets

and find them and the batik fabric has led to it being created as Dutch

Wax, which was used as a trade between Indonesia, the Netherlands

and also Africa, but is now very much used as a sense of identity market.

And so it's really interesting for me to sort of see it there

on the painting as well.

This painting here

starts to pick up a sense of the modern style of painting,

the modern a style of painting that Philpot picks up later in his career.

He sort of breaks away from what he's best known for.

And I think it's an interesting point to start to talk

about the fact that he was of course, one of the most renowned

painters of nobility, society and the great and good of the country.

And simultaneous to that, he was always interested

in painting people who were from more marginalized backgrounds as well.

So people of colour, people who are from working classes

and also people who are artists and performers and not necessarily

the ones who are taking the front of the stage.

Also those back of stage.

I really going to see some today that are very interesting to look at

with that perspective in mind.

But this one in particular,

it's just the way that the paint is so sort of sparingly applied

as opposed to some of his earlier works I find incredibly fantastic

and some of it is an influence from when he spent time in France

and also Germany as well.

And and there's press clippings from the time that sort of says Philpot

goes Picasso

but this

something in the sparing way in which it is applied that I think gives us

so much more of a sense of identity but also intimacy.

It really does draw you in

these paintings,

even though they're so lightly applied, are some of the most beautiful for me.

Philpot's paintings there are to see.

So we started with a press image

of Glyn Philpot, but here is actually the painter himself.

Depicting himself.

I love self-portraits, the really interesting insights into

what a painter is thinking about themself.

This is quite early on in the piece.

So this is 1908 and it's a few years before he would break his way

into the London art scene

and then of course globally as well with a painting of a matador.

But here you sort of already see the way in

which he is trying to show himself as an artist.

There is, of course, the palette.

There is of course the paint of the paintbrush in his hand

and he's rather smart.

I like how there's a hint of the suspenders

that are peeking through his waistcoat.

As well.

It's something that I personally always struggle with.

When you put on a waistcoat, where do the suspenders go?

You have to tuck them in.

But here he is sort of showing to the world exactly what his ambition is.

And it is to be a great painter of grand society,

but also somebody in the tradition of the old masters as well.

And some of the paintings that we will see now do very much follow through that

theme, because he does think deeply about the way in which they painted.

He wants to know the way that they painted because the first for any painter in

his mind was to know how to paint through those who knew how to paint.

And already in this painting, there's also something that I rather like

and some of the ways in which he paints is beautiful in terms of the way that

colours and tones appear on the face.

There are sort of layers upon layers and

the hints of colour that you sort of see on the face is sort of that fine

or very thinly glazed splash of colour, but brings it

breathes life into the painting.

And I think that some of the things that he just does so exquisitely well

and I think should make so many other artists jealous

because it just does make it feel like this is a painting come to life.

There's one more tiny detail I want to point out before we leave

this particular painting, which is I'm a big fan of the cufflink as well.

And I've noticed that in his press picture and in this particular painting,

he's got the cufflink in short.

And some of the team here have sort of looked into exactly where

some of these cufflinks have gone.

And we do know that his great nieces actually turned a pair of cufflinks

into her earrings now as well.

So they still being worn of great pride.

So Philpot

was inspired by the arts and crafts movement as well as the peripherals.

But very much I think his great passion early on in the piece was the old masters.

And this does very much follow in that lineage where you've got

Van Dyck, Rembrandt, Rubens, also.

He was really interested in the works of Velasquez and also Titian but here

this is a remarkable painting because this is the first time

it's actually been displayed in the public for about 100 years.

And it is also testament to the team here and the amount of effort that they've

put into this exhibition, because this has sort of been rediscovered.

It was not known where this painting was and they found it

and put it back on display.

And I think if we appreciate it for a moment, is incredibly beautiful.

There is this sense for me of a depiction again of a black figure,

but it's done so beautifully.

There is a sense of identity, there's a sense of dignity

in this particular image.

But we're also sort of seeing black

on black on black as well, and the way in which the colours have all come together.

But you feel that there's a sort of a halo still coming through,

even in the dark

of the image, I think is really, really well done.

You come in really close, you'll see that the sort of ways in which he has over

painted the black a few times to create those deeper shadows as well.

His control and his mastery of the paint is intense.

I love it.

It's so patient the way that he painted.

He would wait for it to dry and then apply those final glazes as well.

And the effect is utterly beautiful.

If you're a human person like I am, you can't help but be drawn in deeper

into the story.

There's just something as well in the way in

which he's got this heavily lived look and sort of looking down again.

I think there's a

there's just a

stunning quality to this image,

and we come to another painting

that explores that sense of light and shade.

But in a slightly different way now, this particular image

I find incredibly alluring.

Again, you've got that slightly downward look as well,

and the sitter, you can't help but trying to think about who it is.

And of course, this is a painting that has been identified as a young man

in a leather jacket and likely to be somebody in the RAF

who served during the war.

And this does come to that period of time in which Glyn Philpot

was painting for the armed services as well.

And I think as somebody who is in the war, what's really interesting

is that the painting isn't necessarily about heroic masculinity.

There's an incredible intimacy to this painting.

That I find beautiful

and enticing

and incredibly attractive, sort of that wisp of hair

as it falls across his forehead is incredibly well presented.

At the time, I think Philpot had asked to paint

soldiers bathing as well, and he wasn't allowed to do so,

but he was part of the team of artists

who were trying to depict what was happening out there on the front.

The commanding officer sort of said, I think it's just him

wanting to paint nudes, and I wonder what they would have looked like,

how they would have been presented,

because of course I think he would have tried to have presented it

within the classical remit and sort of present them as these stories.

But I wonder what it would have looked like when he depicted the male form

nude as well.

It's certainly his nudes.

He doesn't really depict women that often.

There are a few

he does focused mostly on the male nude, but I wonder what it would have looked

like when he was doing it during wartime as well.

Philpot was

commissioned to paint a series of Admirals' portraits,

but they're not as charming as this particular painting.

I think you can very clearly see here already

that this is what he was interested in and the intimate

look at a rather ordinary person

He is a person who's in the armed services, but you can

see he's quite young and there's just a wisp of moustache on his face.

And so you really do see that this is someone

very, very young serving on the front Lines.

So while you have the admirals decked out in all of their regalia.

This is not that case.

And there is a sensitivity to this that is quite remarkable.

You're given a glimpse into a very, very private moment here

It's not clear to me what he's thinking, but

in this particular instance,

when you're out there, it is the difference between life and death.

And I think that there's something in the way that Glyn Philpot explores

that topic as well.

The idea of youth and attractive handsomeness.

But also there's a flip side as well, which is a sort of a vanitas

or a memento mori as well.

And for me, the the darkness that almost consumes this image,

save for the light, the radiant light from the face that sort of glows.

I think he's always thinking about that

double edged sword between youth

and aging and also

being on the very precipice of danger as well.

We've been looking at some of the paintings

in which Philip explores topics that are of interest to him.

And I think this is probably one where it shows us exactly

what is of interest to him when it comes to homoerotic desire.

There's a tension sometimes in his paintings

because he's really grappling with his own sense of self.

And this is probably a key hint

to what is going on in his mind artistically as well.

This is a student with a book, but if you look at the book,

on that page is an annuity,

a male nude painted by Michelangelo from the Sistine Chapel.

And if you think about the relationship with that particular artist,

you're looking at somebody

who also in his own lifetime grappled with his own homoerotic desire as well.

But Michelangelo would emerge as one of the most brilliant sculptors

of the male nude, but also painter of the muscular form as well.

If you look very closely.

There is a sweeping sort of mane of hair that is coming

across the page that helps you identify that particular image as well.

But if you think about what was going on with Michelangelo,

and his own tensions in terms of his desires for some of the people

who sit for him as well, and you think about what's going on,

there's a sort of a lineage that sort of is linking him here

right back to the Renaissance now as well in terms of the way

that he wants to depict homoerotic art as well.

It's a kind of coding, and this is the unlock of for us

because if we know that that is on his mind as well,

we're actually can begin to look at some of the other artworks

where he looks at Christian images and also classical images

to really think about whether or not Glyn Philpot

did have that sense of desire for the male form

I love the wild shock of hair.

It's so beautifully rendered as well in terms of maintaining

that link back to Renaissance Italy.

This is a beautifully rendered red chalk painting.

I think clean filled part in all of these studies sort of shows how

he very much trained under the old ways and was able to present images

very beautifully using the techniques

of descent Now, this particular drawing is of George Bridgeman.

So I said that Henry Thomas was quite regularly depicted.

This is the other person that you'll see

quite regularly in his works, and he has a fascination with him

that is evident across the paintings and also drawings.

But I think they often sort of say he's the one with the broken nose as well.

So if you kind of like peer in a little bit more closely,

I think it's up to you to judge.

I think it looks fine.

So here's George again, good old George.

Here is depicted with his cap off and he's sort of looking up

almost as if this is an image

of religious reverence

but it's actually not.

If you know about the title painting, it sort of gives it away.

This is not a person looking up at a miracle of God.

It's actually a miracle of man.

Skyscraper gives it away.

And I think this is, again, another interesting element

where you kind of think it's one thing, but Phil quite

sort of flips it and gives you a different idea.

About what's going on in the picture.

And you're presented again with somebody who's rather ordinary looking.

We're sort of looking at somebody

who's holding a very sort of working class element of attire as well.

But let's have a look at an image that does sort of pick up

a more religious theme for us and sort of explores

the idea of that tension that is going on in Philpot's mind.

You couldn't get a more clearer image of that than this one.

And this, as you can see now, having just looked at the image

of George and moving straight to this one from 1929,

you sort of see that he has drifted in terms of his style.

He has gone right into the modernist and

this painting that shows

Christ emerging

from the grave here

is just so laden with that idea of what he's trying to grapple

with, the way in which it almost sort of is found together

and how he's trying to

work through his own forms as well.

And the way that this has been described by some

is that this figure down here is almost like a lover

about to awaken as well, but focus on the Christ and that image.

There's almost a

disconnected feel from the image itself.

Again, we can't make eye contact with this particular figure.

But Philip, on has shown us somebody who's incredibly.

There's almost a sensual turn to the body as well,

so delicately painted once more

and sort of the hint of spring and that sense of reawakening as well.

But what will emerge for Philip, I think, is always the thing

that I'm trying to think through, because in this image, I think there isn't

a fervent passion in there.

It's almost a slightly distance reverence.

And so here I think that idea of reverence,

he does separate himself from

seeing this particular figure as one of desire

and more as one of sacredness.

This is a grand painting that I think sort of picks up on that theme of Philpot

looking at muscular bodies in the style of Michelangelo.

You can kind of see that coming through.

But generally, the spirits, I think, kind of touches

on that last thing that I want to pick up on, which is this idea of the spirit

that comes through in a lot of these paintings.

And we come to this one

that has been looked at by quite a few of the people on this exhibition.

And I think it's rather remarkable in the way he cleverly does

pick up on this rather homoerotic image, but does also subdue it.

At the same time, it is rather restrained you've got this figure in the middle,

for example, who is wearing a shirt that just covers almost everything.

It's the shirt

that shows everything, but also shows you nothing at the same time as well.

But the composition of three male figures here who are all suitors to Penelope.

Off in the corner here I think is rather interesting.

You've got this gentleman here

and just kind of focusing on where he's looking just for a moment.

He's already reaching out for evidently

a fig leaf that I think should belong to this particular fellow.

And I asked you to have a think about where he's looking.

I think he's looking right there,

which is also where we end up looking as well, because

right there is a tiny little flower that is held, obviously a flower

that is going to be proffered to Penelope but here instead, it's been given to us.

And it brings us into one of the most alluring points

of this particular painting.

There are studies and sketches here on display, and you'll see that

Philpot agonized over exactly how this figure should be positioned

and in some cases, the butt is shown.

Sometimes it's especially put because of the positioning of the rest of the body.

But here it's sort of been hidden from us,

made all that more alluring because of the cloak that is in place.

I think this might be the sort of the final thing that I'd like to

unlock, and I still haven't quite figured out how it works with everything.

But down here by this particular

piece of footwear,

very interestingly, is a set of 11 pearls

still trying to grapple what that means.

The pearl often might mean the tears of God,

or it might also represent that sense of purity

but what does it mean here in this particular place when it's placed

so closely to the foot that it might be completely walked over as well?

So Philpot

deserves viewing and re-viewing,

and every time you look, you discover something new,

but just be conscious of how much looking you're doing

because he is so engrossed in his looking

that he hasn't actually realised that he's already lost a piece of his clothing.

There

and what's remarkable about his gaze is it itself

is almost hidden by the fig leaf.

So it's almost like it is an illicit gaze.

But as I say so far, it just does invite you to return to him

again and again.

Philip

was also deeply inspired by opera and by dance,

and this particular sculpture is inspired by Philip going to Belarus

and seeing that great dancer, Nijinsky, who inspired generations.

But it is of 'Afternoon of the Faun',

and I think the phone is a recurring image in some of Phil parts works as well,

but incredibly

beautiful, incredibly well represented, but also the way in which it fragments.

He's also thinking about his connection to

antiquity as well.

But what's interesting is this isn't bronze.

This is actually lead that's been chased with patented

silver, which I think connects it to

from performance to another sort of performance, which is the jazz era

and the jazz age and the idea of how it's all about glittering, shimmering things.

So let's have a look at some last images now so two paintings that I think

are fascinating to me of Felix,

and this is a sort of a nod to Paul Gaughan,

and it is Felix wearing a bright yellow shirt,

but also with a high discus in his hair, which I think, again, sort of smashes

the idea of what is masculine, what is not.

But this image of Felix fully

attired in his place of employment, I think is incredibly fascinating.

Here he is, bright red.

He stands out in this picture and he's very enticingly holding the curtain

back to all the alluring excitements that are beyond

and that nightclub, you can see a couple sort of dancing away already.

One of the things that is remarkable about this painting is the way

in which his eyes, Felix, his eyes and where they look

become a focal point

follow them through.

They don't look at the woman who's about to enter this nightclub,

beautifully dressed in this gorgeous outfit.

They fall to the gentleman behind her

so once more, I think

we've got this idea about sort of

giving us a little bit of a hint into what's going on in his mind.

As well.

What are the alluring excitements that await him when you pull back

that curtain

this is a modernist painting fulfilled part.

The red is so sparingly applied to the canvas

and there's something in the pink that I rather like as well.

But this figure is so beautifully done.

Jan Erlend, who in this case is an athlete and there are paintings

that Philpot does that I think are remarkable that include ballet dancers,

include acrobats, and in this case, the athlete and also actors.

I should say this is incredibly canvas, you know,

painting here. But

in this particular one, I just think it's really interesting

the way in which we can think about how across all these different

people and the way in which

we're given a behind the scenes glimpse,

there's a sense of a performance as well that's being given

and I wonder about that idea about

a figure like this, how performance is so crucial

to their survival and their livelihood as well,

but also the performance in which we see on a canvas as well.

So be it a costume, be it makeup, or be it's

just the things that they have that try to depict something otherwise to you.

If you strip that all away, what happens and here

I wonder about exactly what we're seeing in terms of the particular setting.

Are we seeing someone who is

about to go perform or are they about to come off the performance

and take it all off and return to their own selves?

And then what is that own self

and I think it's something that Philpot

always kind of leaves us in limbo in terms of thinking about it as well.

I've said that you're often given a glimpse into the person,

but how much of that is

truly the person?

How much of that is what they're trying to convey to you?

How much of that has been interpreted through Philpot himself?

So it's a quandary

that I think I'm always left with.

I'll.