Display caption

Cecil Collins and his wife, the painter, Elisabeth, are shown in their house, Swan Cottage, in front of a window looking onto the Devon landscape. The format is deliberately reminiscent of seventeenth- and eighteenth-century portraiture. The figures and the interior are linked to the landscape through the repetition of the ankh, the Egyptian symbol of eternal life, which each artist holds and which appears on the hill in the background. The chalice on the domestic table gives the setting a sacramental quality, while the idealised view might suggest a modern Eden before the Fall. 

September 2004