page_title: Madeline Green
section_title: Works and Exhibitions
hierarchical_section_title: Madeline Green / Works and Exhibitions
caption_attribution_description: Русский: British Painter Madeline Green1884-1947)
context_page_description: Madeline Emily Green was a British figurative artist, who exhibited at the Royal Academy, the Society of Women Artists, the Society of Graphic Art and at many other locations in Great Britain, and abroad.
context_section_description: Madeline Green’s work was exhibited during her lifetime in at least 18 galleries, in England, Scotland and Ireland, as well as at the Venice Biennale, the Paris Salons (where she was twice awarded medals), and in Adelaide and Melbourne.
  In November 1910, while still at the Royal Academy, Madeline joined 26 others in Ealing in setting up the Ealing Art Guild, the brainchild of Arthur Sortwell and John Dovaston. John’s sister, Margaret Dovaston, is credited with founding the Guild, but the newspaper cited only makes reference to her showing works at the opening Exhibition. It is not known whether Green exhibited with the Guild in the early days; it later became the Ealing Arts Club and the catalogues show that Green exhibited “Ponies’ Heads” and "The Young Man" in 1931, and “Horses” in 1933, suggesting that she had been a long time member.
  Newspaper reports of exhibitions indicate that one of Green’s earliest displays was at Aylesbury Town Hall in November 1912, soon after she had finished at the Royal Academy. The following year, a review in the Bedford local paper of works in the town’s annual exhibition noted that Green’s “spirited drawings of horses are quite admirable”.
  Green exhibited 24 times at the Royal Academy’s Summer Exhibition during the years 1912–1943, with a total of 32 paintings. They were sometimes  singled out for special comment. As early as 1915, for example, a critic remarked on “a small painting by Miss Madeline Green, ‘The Model’, which also makes its appeal by its delicate refinements and subtle quality. The colouring is of greys, with a blue note in the skirt of the figure, and is most successful, and the picture stands out among its more ordinary surroundings by its inherent distinction.”
  Madeline Green exhibited “The Balloon Girl” at the Royal Hibernian Academy, Dublin in 1916, at a time which coincided with the Easter Rising. The Academy was hit by a shell from the armed steam yacht “Helga” which destroyed all the hundreds of paintings on display and many valuable reference works. The Property Losses Committee awarded Green their standard 85% of her £30 claim for her painting.
  In 1918 "The Step Dancer" (a self-portrait) was lampooned in Punch magazine. The original rather feminine figure with “striped green silk taffeta iridescent harem trousers” was turned into a cartoon “where the gentle gaze has turned shrewish, her stockings bagged around bony ankles and ungainly flat feet.”
  Green took part in the inaugural exhibition of the Society of Graphic Art at the Suffolk Street Galleries in London, on 1–29 January 1921, showing five of her works; in the three following years she exhibited ten more. In December 1924 in Adelaide, at Mr F W Preece’s bookshop and gallery on King William Street, three of Madeline Green’s works (“Remounts”, “On the Balcony” and “Covent Garden”) were displayed, along with those of other members of the Society of Graphic Art. Green retired from the Society in 1927.
  In 1925 “The Future” left one observer slightly mystified: “It is a clever painting, delightful in its colour and technique. A young man and a young woman [are] seated apart in what appears to be a public gallery. The maiden is sadly pensive, the youth frankly bored. Possibly the lady’s wedding ring conveys a hint of the artist’s meaning.” The artist’s meaning became a little clearer in 1927 when Sir Joseph Duveen, Bt, a noted British art dealer, purchased “The Future” and presented it to Manchester City Art Gallery. The Curator, Lawrence Howard, wrote to Madeline Green asking for details of her painting, so that he could correctly catalogue it and, if need be, have it appropriately cleaned or restored in years to come. Green replied that the painting was intended to portray a newly married couple looking into the future, and that she had sat for the figure of the coster girl herself, using a looking glass to help compose the picture. Madeline also explained her technique: “[the painting] is done in body colour underneath & glazed with pure colour and oil – I always paint this way – & although it takes rather a t
caption: Madeline Green, Glasgow c. 1930, oil on canvas, 53.6 x 43.3 cm, National Gallery of Victoria, Melbourne, Felton Bequest, 1931 (4468-3)
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