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Helen Bradley"Dear Me", cried Miss Carter (who wore Pink), "Jane's talking to the Policeman"
About the Item
"“Dear Me”, cried Miss Carter (who wore Pink), “Jane’s talking to the Policeman” and Mother, the three Aunts and Grandma (and the dogs Gyp and Barney) were all outside James Alfred Buckley’s Chemist Shop. We were late coming home from visiting Great Aunt Jane up Springhead and Aunt Frances was in a hurry to speak to James Alfred (they had a secret understanding) so George and I were forgotten and being small we got caught in the rush of mill workers hurrying home. George started to cry “Mother, where’s Mother?”, I can hear the Thing which lives up Springhead roaring and it’s coming nearer. It will bite all of our heads off “Dear Dear”, said the kindly mill women, “What shall we do with these poor Children,” but big Joe the P.C. soon heard George and we hadn’t far to go before reaching home and the year was 1906" - Helen Layfield Bradley.
Despite her early interest in art, it was not until Bradley was sixty-five that she took up painting scenes of her childhood to show her grandchildren what life was like when she was a child. The artist transmuted her childhood memories in the everyday life of ordinary Lancashire mill folk into anecdotal art. Characterised by the frank and inhibited outlook of a young child, her bright, teeming pictures and her own delightful narrative, memorably reflect that gentle period. Rustic in style, idyllic in mood, Helen Bradley's pictures are as accomplished as they are imaginative. L. S. Lowry has said “Helen Bradley is unique.” 1 Her works touch the hearts of those young and old.
Not only did Bradley paint with her brushes, but also in words. Her paintings are combined with stories brimming with sardonic humour that brings to life the age that she lived and reveals a rare appreciation of humanity. Her paintings have a curiously cinematic effect – edited events, freeze framed, staged in such a manner that the story is obvious, often emotive, but somehow maintaining directness and objectivity. The stories, both painted and prose, tell of the everyday affairs of the Bradley’s family and friends. Many characters recur frequently, such as Miss Carter (who is always depicted in pink), Mr Taylor (the Bank Manager), the aunts, grandma, brother George, the dogs Gyp and Barney and Willie Murgatroyd.
Bradley’s narrative paintings are abundant with characters and captivating details painted in a flat decorative style without roundness or shadows, an influence of early Persian and Moghul painters. Her technique is entirely her own, and derives little from traditional methods. Bradley applied the colour for the skies and backgrounds of her compositions loosely with the palm of her hand, then intricate details, such as tree branches or brickwork and stones, were scraped away with the blunt end of a paint brush before constructing the detailed figure work by brush. Many of Bradley’s paintings are distinctive for their warmth of colour, particularly in the skies and in her depiction of sunlight illuminating rows of brick houses and cotton mills.
One of two.
Signed with fly insignia (lower left).
Oil on Canvas laid on board.
Image dimensions: 62.5cm x 56cm / 24½ inches x 22 inches
- Creator:Helen Bradley (1900 - 1979, British)
- Dimensions:Height: 11.23 in (28.5 cm)Width: 9.45 in (24 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU2615215720442
Helen Bradley
Helen Bradley was born in Lees near Oldham in 1900. She began her art education at the age of 13, winning the John Platt scholarship to Oldham Art School in 1913. The outbreak of war and parental opposition brought an early end to her artistic career. Bradley only began to paint her distinctive scenes of an Edwardian girlhood at the age of 65. She simply wanted to show her grandchildren how different a place the world used to be when she was a child. In the 1960s, she met L. S. Lowry, who encouraged her in the creation of a narrative style based on her childhood memories and a personally expressive style finally began to emerge. From 1965 until she died in 1979, Bradley achieved international celebrity. Televised documentaries were made of her life, the Northern Ballet adapted her work for the stage and shortly before her death, she was awarded the MBE.
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