Letchworth, the brainchild of Ebenezer Howard (1850–1928), was still in its early stages of development in the early 1900s. Ratcliffe was one of a number of artists and designers who moved to the new town, attracted by the surrounding countryside, the Arts and Crafts housing (see figs.3 and 4), and the textile, pottery and furniture businesses that lined the modest thoroughfare. Stanley Parker, whom Ratcliffe might have met at Manchester School of Art, was the brother of one of the town’s architects and may have encouraged Ratcliffe to move there. Parker, who subsequently taught craft at St Christopher’s School in Letchworth, developed a close friendship with Ratcliffe, and introduced him to many of the local artists and musicians at the regular gatherings he and his Swedish wife Signe organised at their home at 32 Westholm Green.
2 It was probably in this informal environment that Ratcliffe met the painter Harold Gilman who had moved with his family to 15 Westholm Green in 1908, a few doors away from Ratcliffe. Parker and Gilman soon moved to larger family houses at 102 and 100 Wilbury Road respectively; Ratcliffe stayed in Westholm Green, moving to number 18 (now 11) in 1909.
During his first years in Letchworth, Ratcliffe worked as a freelance designer producing illustrations of the Garden City for books, postcards and the annual engagement calendar published by new printing companies such as the Garden City Press, as well as possibly continuing with his wallpaper designs.
3 However, with Gilman’s encouragement, Ratcliffe decided to abandon graphic design and enrol at the Slade School of Fine Art in London. He studied there part-time for a term starting in January 1910,
4 and at the same time began attending the regular ‘At Homes’ held at 19 Fitzroy Street under the auspices of Walter Sickert. Paintings such as
Interior c.1911 (private collection),
5 which depicts a woman seated in a domestic interior painted in bright colours with impasto brushstrokes, show the impact the new group had on his work.
6 Likewise, in depicting a central London square in
Clarence Gardens 1912 (Tate
T03359, fig.5), Gilman’s and Gore’s treatment of similar subject matter is evident.