The Chintz Couch

Many of the interiors painted by artists of the Fitzroy Street and Camden Town circles reflected the humble and financially straitened reality of their own lives, for example Spencer Gore’s The Gas Cooker 1913 (Tate T00496). The Chintz Couch by Ethel Sands, however, depicts an unashamedly elegant and fashionable interior representing a life of leisure and material wealth. The painting shows one part of a room with a small couch covered in chintz material, standing against a wall hung with a number of framed pictures and prints, none of which has been identified. To the right of the couch there is a side table upon which is placed a tall blue glass vase holding an arrangement of white arum lilies. A band of white light streaks across the left-hand side of the couch and continues up the wall, suggesting a window with curtains partly open on one side. Sands has used a sparing, dry application of paint, and the colour of the largely uncovered board plays a major part in the colour and tonal relationships of the painting.

Sands inherited a comfortable fortune after the premature deaths of both of her parents which enabled her to live an independent life, painting, travelling, socialising and entertaining. Women who wished to pursue a professional artistic career at the turn of the century often faced the practical difficulty of finding sufficient funds to finance a decent artistic education. At the Académie Julian in Paris, for example, the fees for women were double those charged to male students.1 Sands’s private income gave her the economic resources to practise art and the subjects of her paintings reflect her experience as an affluent and intelligent woman at the beginning of the twentieth century, unhindered by the pressures of earning a living or raising a family. Like many of her contemporaries, she chose to paint subjects drawn from everyday life but, in her case, not an everyday life which was accessible to many. It was the reality of her own privileged existence which provided the inspiration for her art and she frequently depicted scenes set within her various homes, in Oxfordshire, London and later in France.