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This room focuses on paintings of London’s changing means of transport, places of popular entertainment and city views from windows.

Robert Bevan studied the disappearing world of horse-drawn transport, while Charles Ginner revelled in the bustling hubs of motorised transport such as Piccadilly Circus. Following Walter Sickert’s fascination with the London music hall, Spencer Gore used a brilliantly lit palette to evoke the spectacle of popular stage performances. Ginner’s image of a circus act has an almost documentary quality, while Malcolm Drummond’s St James’s Park shows a far more formal mode of painting. Harold Gilman looked for altogether quieter places to paint and his An Eating House shows how far Camden Town painters approached a highly abstracted form of social realism by 1914.

In their views from the studio Gore and William Ratcliffe look out on to a London of back gardens and leafy squares with a calm stillness which has none of the dynamism to be found in Italian Futurism, first seen in London in 1912.

It was the former Camden Town artist Wyndham Lewis and a younger generation of painters, such as Edward Wadsworth, who from 1912 were to develop radically new ideas of modernity.