Oil paint on canvas
Tate Britain
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Chantrey Bequest
Collection
<a href="https://www.tate.org.uk/art/artists/sir-matthew-smith-1958" aria-label="More by Sir Matthew Smith" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sir Matthew Smith</a>
Nude Fitzroy Street 1
Presented by the Trustees of the Chantrey Bequest 1952
actions: postures and motions
adults
arm / arms raised
chair
colour
domestic
emotions, concepts and ideas
female
formal qualities
furnishings
interior - non-specific
interiors
nudes
objects
people
sitting
woman
<p>This is among the most advanced in style of Smith's paintings. It is one of a pair showing a model in the same pose from two different points of view, painted in his studio in Fitzroy Street. 'Nude No.2', which belongs to the British Council, shows the model seen from the front, and has slightly more detail in the background. Soon after these were painted Smith, who had already joined the Artists' Rifles, was called to France with the army. After the war he painted little until his stay in Cornwall in 1920.</p><p><em>Gallery label, September 2004</em></p>
painting oil paint canvas
4 August 2008 – 12 December 2010
2010-12-12
4 August 2008 – 12 December 2010
2010-12-12
2008-08-04
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2008-08-04
Image and Paint
Collection based display
5 November 2016 – 31 August 2025
2025-08-31
5 November 2016 – 5 February 2017
2017-02-05
2016-11-05
Art Gallery of New South Wales (Sydney, Australia)
http://www.artgallery.nsw.gov.au
18 March 2017 – 16 July 2017
2017-07-16
2017-03-18
Auckland Art Gallery (Auckland, New Zealand)
11 August 2017 – 4 February 2018
2018-02-04
2017-08-11
Seoul Olympic Museum of Art (Seoul, South Korea)
24 March 2018 – 24 June 2018
2018-06-24
2018-03-24
Yokohama Museum of Art (Yokohama, Japan)
13 July 2018 – 28 October 2018
2018-10-28
2018-07-13
Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan)
2016-11-05
Nude: art from the Tate collection
Tate partnerships & programmes
31 October 2022
31 October 2022
2022-10-31
Tate Britain (London, UK)
http://www.tate.org.uk/britain/
2022-10-31
Gallery 4
Collection based display
Nude, Fitzroy Street, No. 1
support: 870 × 765 × 20 mm
frame: 980 × 870 × 89 mm
Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 1952
<div class="text">
<p>Matthew Smith’s painting shows his keen interest in the style of French artists like Paul Cézanne as well as the French fauvist group of artists who encouraged the strong use of colour and brushwork. Smith painted a companion painting, Nude, Fitzroy Street, No. 2 (British Council collection) using the same model at his studio in Fitzroy Street, in London. Smith was wounded during the First World War and painted little during his recovery until he visited Cornwall in 1920.</p>
</div>

Online caption
2023-12-01T00:00:00
online-caption
ONLINE_CAPTION
<p><b>N06086</b> NUDE, FITZROY STREET, NO. I 1916</p>
<p> </p>
<p>Inscr. ‘MS’ b.r.
<br/>Canvas, 34×30 (86×76).
<br/>Chantrey Purchase from Mrs Dorothy Searle 1952.
<br/><i>Coll:</i>	Acquired from the artist by Arthur Tooth &amp; Sons 1942, from whom purchased by A.J.L. McDonnell June 1945; Mrs Dorothy Searle, who purchased it from the Redfern Gallery October 1949.
<br/><i>Exh:</i> <i>Jacob Epstein and Matthew Smith</i>, Temple Newsam, Leeds, July–September 1942 (90), as ‘Nude, Fitzroy Street, No.I’; <i>Contemporary British Paintings</i>, Tooth's, June–July 1945 (7), as ‘Fitzroy Square [<i>sic</i>], No.I’; C.A.S., <i>The Private Collector</i>, Tate Gallery, March–April 1950 (253); R.A., 1953 (448); Tate Gallery, September–October 1953 (7, repr. pl.5); R.A., October–December 1960 (29).
<br/><i>Lit:</i> Hendy, 1944, pl.6; Rothenstein, 1952, p.233, repr. facing p.235; Hendy, Halliday and Russell, 1962, at pl.7, repr. (in colour).</p>
<p>This and ‘Nude, Fitzroy Street No.2’ (British Council) were painted in 1916 at the artist's studio, 2 Fitzroy Street, from the same model and are the most important works of this period. In them the artist uses bold outlines and broad strokes of strong <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/c/complementary-colours" title="Glossary definition for 'Complementary colours'"><span>complementary colours</span></a> in a manner similar to that adopted by the French <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/f/fauvism" title="Glossary definition for 'Fauvism'"><span>Fauve</span></a> painters led by Derain and Matisse. ‘Nude, Fitzroy Street, No.I’ was rejected by the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/l/london-group" title="Glossary definition for 'London Group'"><span>London Group</span></a> in 1916.</p>
<p><b>Published in:</b>
<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, II
<br/></p>

Catalogue entry
2004-10-08T00:00:00
catalogue-entry
CATALOGUE_ENTRY
actions: postures and motions adults arm / arms raised chair colour domestic emotions, concepts and ideas female formal qualities furnishings interior - non-specific interiors nudes objects people sitting woman