Pallant House Guided Tour - Seeing Each Other: Portraits of Artists
- Tricia Johnson
- 17 hours ago
- 12 min read
A Visit to Pallant House Gallery, Chichester
I recently had the pleasure of taking a group of students to the Seeing Each Other exhibition at Pallant House Gallery. It was a wonderfully thought-provoking show exploring how artists have portrayed one another — whether through admiration, rivalry, love, or shared creative life. We had a brilliant guide, Michaela, who walked us through the exhibition and offered fascinating insight into each section.
We met in the Garden Room next to the café before heading further into the gallery and the exhibition. Some of us took a few minutes to explore the Ideas for Sculpture: Drawings and Maquettes display in the Print Room. This display included working sketches and models by well-known sculptors like Henry Moore, Tony Cragg and Shirazeh Houshiary — revealing the early spark of an idea before it becomes a finished sculpture.
*I have included images of all works for each room from our guided tour and a few extras that I thought might be interesting.
Exhibition Introduction – Portraits as Mirrors
Our tour began in the entrance gallery where Michaela gave us a whistle-stop tour of the history of portraiture. From ancient Egyptian funeral portraits to Roman coins, from Renaissance ‘star artists’ to Rembrandt’s expressive brushwork, portraiture has always told us as much about the artist as it does the sitter. She referenced the expressive portraits of the 17th Century, such as Rembrandts work and the focus on expression and pose. Then the style for group portraits and into the 18th Century with the ‘Swagger’ portraits of Singer Sargent and finally the avant-garde of the 20th Century. We explored how portraits have shifted from showcasing power and status to revealing the more personal or creative aspects of identity — especially when the sitter is another artist.
This exhibition focuses on what happens when artists turn their gaze towards one another. These aren’t just portraits — they’re snapshots of friendships, artistic circles, mutual respect and sometimes complex relationships. Some show fellow artists at work in their studios, while others reveal dynamics within groups like the Bloomsbury set, the Unit One movement, or the Young British Artists. Together, they offer a behind-the-scenes look at British art from the early 20th century to now.
Room 2 – Artistic Bohemia
As we moved into the next gallery space, we were introduced to the bohemian world of early 20th-century British art — a time when artists were beginning to break away from the establishment and form their own lively, sometimes chaotic, creative communities.
The Slade School of Art was at the heart of this scene. Under the guidance of the influential (and famously grumpy) professor Henry Tonks, it became a training ground for some of the most important artists of the period. He referred to two waves of students as “crises of brilliance” — a phrase that captures both their talent and the emotional intensity of their lives.
Augustus John was one of the key figures here — often referred to as the "king of bohemia" for his flamboyant lifestyle, unconventional domestic arrangements and free spirit. He appears in William Orpen’s portrait as the embodiment of artistic swagger — confident, romantic, and slightly wild.
Around him, many other artists formed networks, clubs and societies outside the formal setting of the Royal Academy. The New English Art Club, for instance, offered an alternative exhibition space, although it eventually became part of the establishment by 1907.
We saw a lovely mix of portraits in this room:
Max Beerbohm’s witty group portrait The New English Art Club captured this shifting moment in British art — part caricature, part affectionate record of a generation. Graphite, Ink and watercolour on paper.
Nina Hamnett, dubbed the “queen of bohemia”, was represented both as sitter and artist. Her Portrait of Horace Brodzky showed her bold style, while Roger Fry’s portrait of Nina showed a quieter side, dressing her in an Omega Workshops design and placing her in a thoughtful pose. (If you’re curious about the Omega Workshops — a sort of design collective founded by Fry — the Tate has a great overview.) Oil on canvas.
Walter Sickert, a hugely influential artist and teacher, painted The Little Tea Party, capturing Nina Hamnett again — this time in a social setting with Roald Kristian. Oil on canvas.
Sickert himself was portrayed by Sylvia Gosse, offering a glimpse into the mutual admiration and connection among these artists. Oil on canvas.
Henri Gaudier-Brzeska’s bronze sculpture The Dancer was especially striking — a dynamic portrayal of Nina Hamnett, who frequently modelled for him.
William Orpen – Augustus John. Oil on canvas
This room reminded us that artistic innovation isn’t just about the work — it’s also about community. These artists pushed boundaries together, inspired one another, and sometimes challenged one another too. It was a time of experimentation, fierce independence and shared ideals — and it all fed into their portraits.
Room 3 – From Cornwall to Suffolk via Paris and London
This gallery told the story of a fascinating time between the World Wars when British artists were looking both outward — to the cultural hotspots of Paris and London — and inward, to quieter, more rural lives and art communities.
We began with Cedric Morris and Arthur Lett-Haines, a couple who met in London on Armistice Day in 1918 and remained partners for life. Their early years were filled with energy and sociability — they lived in the artist colony of Newlyn in Cornwall, threw legendary parties, and even sublet a London studio from the artist Frances Hodgkins, whose beautiful watercolours we were encouraged to explore further (here’s a good place to start).
But eventually, Morris and Lett made a deliberate choice to slow things down. In 1930 they moved to rural Suffolk, opening The East Anglian School of Painting and Drawing — a bohemian art school that nurtured future talents like Lucian Freud and Maggi Hambling. The school was free-spirited and unconventional, focusing on creativity and individuality over formal teaching.
In this room we saw:
Cedric Morris’s oil portrait of Barbara Hepworth, who was part of the same circle. Morris’s style felt direct and expressive — a painter’s tribute to a sculptor. Oil on board.
A striking charcoal portrait by Arthur Lett-Haines of Frances Hodgkins, revealing comfortable and how close their relationship was.
Works by Eric Ravilious and Edward Bawden, friends who met at the Royal College of Art and later became known for their distinctive styles. Ravilious’s piece was painted in egg tempera, a traditional medium that had a bit of a revival in the 1930s. He had a knack for creating atmospheric, finely textured scenes, often with a nostalgic feel.
We also heard about the Seven and Five Society — a group formed in London in 1919, originally quite conservative in outlook. But by the mid-1920s, the group had radically shifted thanks to members like Ben Nicholson, Henry Moore, and Barbara Hepworth, who steered it toward modernism. By 1935, they renamed themselves the Seven and Five Abstract Group, having expelled all the non-modernist members! (More on them here)
This room helped to show that artistic identity isn’t fixed — it changes with who we surround ourselves with, where we live, and what we value. From wild Cornwall parties to the quiet of Suffolk gardens, the lives behind the portraits were as textured and varied as the works themselves.
Room 4 – Intimate Partnerships
This room offered a deeply personal look at how romantic and emotional relationships have shaped artists’ lives and their work — for better or for worse.
Some artist couples supported and inspired one another; others wrestled with imbalance, competition or loss. We saw how being in a relationship with another artist often meant they were each other’s most available model, especially when they lived and worked in the same space. But it also meant that tensions could find their way into the art, either consciously or subconsciously.
One moving example was a stone sculpture by John Skeaping, carved from Ancaster stone, depicting his wife Barbara Hepworth and their baby son Paul. There was something incredibly tender in the carving, capturing a quiet moment of motherhood and partnership.
We saw:
Winifred Nicholson’s soft, affectionate portrait of Ben Nicholson in a blue jumper — a painting that spoke of familiarity and warmth. Oil and pencil on canvas.
Barbara Hepworth’s drawing of her first husband John Skeaping — bold, sculptural marks with charcoal and crayon that hinted at her own three-dimensional thinking even on paper.
A linocut by Ben Nicholson from 1933, possibly influenced by Hepworth’s experiments with photograms — showing how closely their artistic ideas overlapped.
But not all stories were so harmonious. Lilian Holt gave up her art for many years to support her husband David Bomberg’s career. It wasn’t until 1945 — at his encouragement — that she returned to painting. Her story reflects how women artists have often sacrificed their own creativity for the sake of others.
Then there was the tragic pairing of Jean Cooke and John Bratby. Early in their marriage, they painted portraits of each other that, when viewed side-by-side, reveal a deep emotional divide. Bratby’s portrait of Cooke felt controlling and possessive; Cooke’s portrait of him, by contrast, is more detached. Their works became a visual dialogue of the tensions within their relationship. (Find out more about Jean and their relationship) Oil on canvas.
We also learnt a little about the Kitchen Sink painters — artists in the 1950s who turned their attention to the everyday lives of working-class families. These paintings often showed cluttered kitchens, cramped rooms and unvarnished reality.
This movement helped pave the way for a more honest, unfiltered kind of portraiture. (Here’s more if you’re curious)
What stood out in this room was how deeply personal the works felt — whether capturing love, struggle, admiration or sorrow, these were portraits made not from distance, but from close connection.
I will reference works we saw in the Main gallery later on.
Room 5 – Artists on Both Sides of the Camera
This room celebrated photography as both a documentary tool and a creative collaboration between artists. With the invention of lighter, more portable cameras in the early 20th century, photographers were able to leave the confines of the formal studio and capture their fellow artists at home, in their studios, or out in the world.
Although photographs can be taken quickly, the relationship between photographer and subject still mattered. These weren’t just snapshots; many were built on trust, conversation, and mutual respect. You could really feel that in the images — they offered glimpses into friendships, creative spaces, and even the personalities behind the work.
One of the standout features here was a screen projection by Jhonnie Shand Kydd: over 70 photographs of the Young British Artists (YBAs), a group who rose to prominence in the 1990s. The relaxed, behind-the-scenes vibe of these images contrasted with the sensationalism often associated with the YBAs. Our guide noted possible influences from Michael Craig-Martin, one of their key mentors.
Another striking piece was a gelatin silver (fibre-based) print of Frank Auerbach’s hand by Nichola Bensley. The detail was incredible — you could almost feel the physicality of his mark-making through the veins and creases in his palm. The gelatin silver process itself is steeped in tradition and craftsmanship, a reminder that even photographs can carry the same depth and artistry as painting or sculpture. Learn more about this technique here.
This room gave us an appreciation for photography not just as documentation, but as another form of portrait — one that’s just as revealing.
Room 6 – ‘Revealing the All’: The School of London
This room focused on a group of artists brought together by R.B. Kitaj, who coined the phrase “School of London” for a 1979 exhibition at the Hayward Gallery called The Human Clay. These artists were working at a time when abstraction and conceptual art were dominating the scene, but they chose to stick with figurative painting — exploring the human body, expression, and psychology with striking intensity.
Despite their different styles, what united them was a commitment to figuration and their social lives centred around Soho — particularly the legendary Colony Room, a private members’ club and watering hole for the art world. Artists like Francis Bacon, Lucian Freud, and Frank Auerbach were regulars, and their friendships and rivalries played out on canvas as well as in real life.
We spent time with several powerful works:
Paula Rego’s pencil drawing Study of The Family and the ink-and-wash Vic Sleeping offered raw, intimate views of her relationship with fellow artist Victor Willing. There was such vulnerability in her sketches — they felt like moments captured mid-thought.
Willing’s own portraits of Rego, including an oil pastel piece, offered another layer to their creative and emotional bond.
Michelle Andrews’ painting The Colony Room I depicted the very space where these artists mingled — a fitting tribute to a place that was more than just a pub. It was an incubator of ideas, egos, and friendships. Oil on board.
Lucian Freud’s painting Girl in a Striped Nightshirt reminded us of his fascination with the human form and the honesty with which he approached it. Nothing was romanticised — everything was studied, considered, and deeply human. Oil on canvas.
If you’re curious about the world they inhabited, this short YouTube video on the Colony Room gives a vivid glimpse.
Room 7 – Pop Goes the Portrait: The 1960s and Beyond
This room took us into the colourful and ever-changing world of British portraiture from the 1960s onwards. A new generation of artists emerged from the Royal College of Art, drawing on influences from American pop culture — films, music, advertising — while still finding ways to explore their personal lives and identities.
Artists became more mobile during this period thanks to cheaper air travel. David Hockney famously moved to Los Angeles, where the light and lifestyle had a big impact on his work. His friend R.B. Kitaj travelled back and forth between the US and UK, and his partner, Sandra Fisher, followed him to London.
We saw:
Peter Blake’s painting The Meeting or Have a Nice Day Mr Hockney, a witty reimagining of Courbet’s 1854 painting The Meeting. It combined old master references with pop imagery, bridging past and present with a playful touch. (Here’s more on the original if you’re curious.) Oil on canvas.
David Dawson’s photograph of David Hockney and Lucian Freud, capturing two giants of British art in a moment of camaraderie.
Lucian Freud’s etched portrait of David Dawson, his close friend and assistant, adding a quiet intensity to the story.
Sue Dunkley’s bold oil painting of Gilbert & George, rendered in pink tones — loud, vibrant, and unmistakably of its time.
This room reminded us that portraiture could be fun, irreverent, and still deeply meaningful — a mirror not just of a person, but of the world they lived in.
Main Gallery – Contemporary Friendships and Homage
Back in the Main Gallery, we explored portraits that brought the story right up to the present. This room focused on artists painting their contemporaries — friends, collaborators, and influences — often in ways that challenged the boundaries of traditional portraiture.
We saw paired portraits of Chantal Joffe and Ishbel Myerscough, two long-time friends and frequent sitters for each other. Their work captures the closeness between them but also their individual voices.
Myerscough’s Two Painters and Two Girls offered a grounded, observational style — full of texture and human warmth. We were informed that this piece had been commissioned for the exhibition. Oil on canvas.
Joffe’s Studio felt more gestural and instinctive — you could see the paint as much as the subject of the two of them standing in bra and pants. Oil on canvas.
Earlier works we had looked at on the tour, were:
Maggi Hambling’s characterful portrait of Sarah Lucas — full of painterly mark making. Oil on canvas.
Caroline Coon’s bold portrait of Pauline Boty, titled Grand Passion, directly referencing Lorenzo Lotto’s Portrait of a Woman Inspired by Lucretia. Coon’s reinterpretation gives the historical source a feminist twist. (View the original) Oil on canvas.
These works showed that portraiture is still alive, experimental, and deeply personal. It continues to tell the stories of who we are — and how we see one another.
Final Glimpses – Entrance Room and Landing
We ended our tour where we began — back in the entrance room, but now with fresh eyes.
On display here were the cut-out artworks by Lubaina Himid, paying homage to iconic women artists past and present, including Frida Kahlo, Bridget Riley, and Elisabeth Vigée Le Brun. Painted in vibrant acrylics on wood, these life-size figures felt like a powerful welcome (and farewell) to the exhibition.
We also saw a set of etchings and aquatints by Colin Wiggins, each one portraying a different artist as a kind of archetype:
Frank Auerbach – The Joker
Paula Rego – The Enchantress
Peter Blake – The Sorcerer
R.B. Kitaj – The Wanderer
Maggi Hambling – The Smoker
These clever, playful prints added a final note of reflection on the personas we assign to artists — and how they shape their identities through their art.
Finally, on the landing just before the entrance, a reproduction of a Lucian Freud “Wanted Poster” reminded us of his cultural impact and near-mythical status. It was a playful nod to how artists, like celebrities, can become the subjects of their own legends.
Final Thoughts
“Seeing Each Other” was more than a collection of portraits — it was a journey through friendships, rivalries, collaborations, and artistic legacies. From bohemian circles to modern-day studios, from intimate domestic scenes to avant-garde experimentations, the exhibition painted a vivid picture of how artists have always looked at one another — not just to see, but to understand.
For those who came with me — I hope the visit inspired you as much as it did me. And for those who couldn’t make it, I hope this gives you a flavour of what was on show. If you get the chance, it’s well worth a visit.
Let me know if you'd like to discuss any of the artists or ideas we explored — I’d love to hear your thoughts.
Downloadable PDF of the labels for each art work in the exhibition.
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