Sir William Nicholson

Plaza de Toros, Malaga


Not on display

Sir William Nicholson 1872–1949
Graphite on paper
Support: 202 × 252 mm
Presented by Miss H. Stocks 1989


This drawing is the first in a series of three works by William Nicholson showing a view from the hills above Malaga, southern Spain. The second work (Tate T07527), an oil sketch on wood, and the final painting (Tate T05520), worked on in Nicholson's London studio at 11 Apple Tree Yard, are also in the Tate's collection. The three pictures derive from a visit made to the distinguished zoologist Sir Peter Chalmers Mitchell (1864-1945) at his house, the Villa Santa Lucia in Malaga, from 7 May to 13 June 1935. This was a working expedition during which Nicholson painted about a dozen small oil studies of landscapes, as well as interiors and still lifes. Together with the few larger paintings made in Britain from on-the-spot studies, these Spanish works were exhibited at the Leicester Galleries in London in June 1936.

While Nicholson most often depicted casual, small-scale subjects such as modest still lifes, corners of rooms, or unimposing tracts of landscape, here he chose the most notable view of a famous landmark, the Malaga bull ring. His enthusiasm for bullfighting was deepened by his relationship with the novelist Marguerite Steen (1894-1975), whom he had met as a fellow guest at the villa and who subsequently became his companion for the remaining fifteen years of his life. Steen was a passionate enthusiast for bullfights, to the extent that she rather disapproved of the Malaga bull ring as provincial. Nicholson had already witnessed a bullfight in Segovia on his first trip to Spain in 1933 and was now taken by Steen to the bullfights at the corrida in Cordoba. 'William was a natural aficonado of the bulls,' she recalled in her biography of the artist. 'He knew nothing, or next to nothing of bullfighting, but all that panorama of colour and movement, that mystic relationship between the man and the bull which is the drama of the bullfight, was as if it existed for him alone … He was lost in his own vision (Steen, pp.159-60).

While he was given a studio at the villa, Nicholson more often worked around the house and countryside, drawing with pencil and coloured chalks and painting oil sketches directly from nature. He noticed this view of the bull ring on a walk into the town, instantly recording it in his sketchbook. Steen's friend Caroline (Lena) Ramsden, a fellow guest at the villa, recalled how 'one morning the three of us set off to walk into town, crossing the hill behind the villa on our way. When we came to within sight of the Bull Ring, William took a sketch book out of his pocket and said, "I'm going to paint that". We left him to it, and, on our way back he showed us the drawing which he eventually gave me' (quoted in Nicholson, p.247). Nicholson gave Ramsden this drawing to accompany the finished picture which she had bought before the Leicester Galleries exhibition. Tearing it from his sketch pad, he inscribed it at the top, 'Dear L.R. Here is my first note (morning) of your Bull Ring for you. W.N.'. Ramsden later acquired the intermediate oil sketch, although whether by gift or purchase is unknown.

The drawing, though rough and sketchy, is very similar in design and detail to the paintings, including the key elements of the central bull ring, the line of trees in the foreground, and the curving sweep of the coastline at the left. The seated figures who appear in the final painting on the right are sketched here on the left apparently hiking down the hill. Using a very soft, thick graphite, Nicholson simplified the light and shade to map out the essentials of the vista. Compared to postcard pictures of the bull ring popular at the time, he tilted the amphitheatre up slightly and exaggerated the scale of the lighthouse, placing it more centrally. The arrangement of the landscape around an elliptical shape, in this case the bull ring, is typical of many of Nicholson's paintings which often centred on a geometrical shape such as an avenue, fountain, cup or bowl. Hilary Lane attributes this to Nicholson's fondness for playing with a mahogany bilboquet (a cup-and-ball) and seeing 'the ball fall satisfactorily into the cup thousands of times' ('Looking Through the Paintings' in William Nicholson, Painter: Landscape and Still Life, exhibition catalogue, Towner Art Gallery, Eastbourne 1995, p.33).

The Malaga bull ring, known as La Malagueta, opened in 1874 and was to become a lifelong source of inspiration for Pablo Picasso (1881-1973) who was born and spent his youth in Malaga. Yet while in the 1930s Picasso was harnessing the symbol of the bull for radical ends, to suggest sexual potency, the possibilities of metamorphosis, and even national identity in the wake of the Spanish Civil War (1936-9), Nicholson's engagement with the bullfight and its characters was altogether more detached. His sketches and paintings of the Malaga bull ring are consciously distanced from the violence and spectacle of the sport. Viewed from a distance, they convey the architecture and topography, light and shadow of the landscape. Until his death in 1949 Nicholson rejected radical modern styles, continuing to work in the tradition of nineteenth-century realism learnt from Edouard Manet (1832-83) and James Abbott McNeill Whistler (1834-1903). As Sir John Rothenstein (1901-92), Director of the Tate Gallery from 1938 to 1964, noted, 'his mind, like his eye, was preoccupied wholly with the intimate segments of the surface of the world that came under his minute and affectionate observation' (Modern English Painters: Sickert to Smith, London 1952, I, p.118).

Further Reading:
Andrew Nicholson (ed.), William Nicholson, Painter: Paintings, Woodcuts, Writings, Photographs, London 1996, pp.243-9, reproduced p.247
Marguerite Steen, William Nicholson, London 1943, pp.153-62

Jacky Klein
July 2002

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Technique and condition

A pencil drawing on thin white machine-made paper. The perforated top edge and the rounded two bottom corners indicate that it was probably torn out of a sketch pad. The drawing was then pasted to a woodpulp backboard, of the type that has a thin paper facing. Nicholson's inscription runs across the top.

The image is in soft pencil. A thin application of black oil paint is evident in the lower right and left corners, and small areas of flattened oil paint and dark brown stains are visible across the surface. Losses of the support occur along the edges and right of centre.

On acquisition the drawing was separated from its backing, then washed and strengthened with a lining of lens tissue. The deteriorated woodpulp backboard was thinned down to leave the tracing paper. This could then be washed and reinforced with a layer of Japanese paper. The drawing was hinged on with lick tape. It was then mounted and fitted into a simple L-section frame.

Jo Crook

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