worked directly from life, and one of the features of his paintings was that he did not attempt to hide the process of construction. Remnants of the measurements he took and the drawing guide he used remain visible in the finished paintings. This was a process that Uglow developed from his early studies under William Coldstream, and it was to become a mainstay of teaching at the Slade School of Art in London tying into an already long standing emphasis on drawing there. The result was paintings that had a strong sculptural quality, but within the tradition of the shallow picture plane of modernism, particularly as it was understood by Cézanne, although Uglow's work has also been compared to the simple classicism of the Renaissance artist Piero della Francesca particularly for the way he would make his life models pose in ways to emphasise simple geometric shapes. Planes are articulated very precisely, edges are sharply defined, and colours are differentiated with great subtlety. Uglow preferred that his canvas be a square, a golden rectangle, or a rectangle of exact root value, as is the case with the Root Five Nude (1976). He then carried out careful measurements at every stage of painting, a method Coldstream had imparted to him and which is identified with the painters of the Euston Road School. Standing before the subject to be painted, Uglow registered measurements by means of a metal instrument of his own design (derived from a modified music stand); with one eye closed and with the arm of the instrument against his cheek, keeping the calibrations at a constant distance from the eye, the artist could take the measure of an object or interval to compare against other objects or intervals he saw before him. Such empirical measurements enable an artist to paint what the eye sees without the use of conventional perspective. The surfaces of Uglow's paintings carry many small horizontal and vertical markings, where he recorded these coordinates so that they could be verified against reality. Colour was fundamental to his understanding, and painters such as Matisse and the Venetians influenced him all his artistic life along with many others, although perhaps Cézanne, Morandi, Poussin and Ingres were closest to his heart. Uglow described to an interviewer the inspiration for his still life Lemon (1973):I'll tell you what Lemon is about ... It's the dome at Volterra that Brunelleschi was