Artist Victor Hume Moody: Study of an interior with folded mattress and stacked bins, circa 1940

Artist Victor Hume Moody (1896-1990): Study of an interior with folded mattress and stacked bins, circa 1940

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Victor Hume Moody (1896-1990):
Study of an interior with folded mattress and stacked bins, circa 1940
Framed (ref: 4791)

Pencil, 11 x 14 7/8 in. (28 x 38 cm.)

See all works by Victor Hume Moody pencil interiors PORTRAIT OF AN ARTIST

Victor Moody studied at Battersea Polytechnic and at Royal College of Art under William Rothenstein In 1935 he became head master of Malvern School of Art, a post he held for 27 years until he was succeeded by his daughter, Catherine Olive Moody. He showed at the RA, RP and RBSA and had a solo show at Goupil Gallery, 1939. Moody produced classical compositions and portraits. Harris Museum & Art Gallery in Preston, Bolton and Worcester Libraries and Worcester Cathedral hold examples. Lived in Malvern, Worcestershire. Moody was featured in The Last of the Classicists, which the Harris mounted in 1993. The theme was enlarged at Blackburn Museum and Art Gallery in 203 with the installation Underpainting and The Painting Methods of V H Moody, stemming from researches made by a group including Moody's daughter Catherine.

 Victor Moody’s distinctive voice has yet to find a large, enthusiastic and
appreciative public. He is not alone. He is in good company with other
British artists from the period, whose work is strikingly recognizable and
yet at the same time almost permanently out of vogue: Robert Weir Allen,
Harry Morley, William Strang, Charles Sims, Charles Shannon, Ambrose
McEvoy, Stanley Lewis, Albert Victor Wood. All displayed remarkable
technical skill - grounded in a profound and thorough training in draughtsmanship,
combined with acutely observed narratives. They are infused
with humour and idiosyncrasy. While the skill might be beyond dispute,
the subject matter and composition can make the work inaccessible to
a modern day audience. There is a sense of melodrama, a distortion of
beauty, a heightening of colour which unsettles. Most viewers are drawn
to conclude, sometimes reluctantly, more often readily, that the work produced
by such artists does not merit serious consideration. But what today
is seen, at best, as an enchanted backwater, might well be understood by
future generations to represent a more mainstream current of the art of its
day. The inherent quality of their work and the originality of their vision
begs a reassessment of their individual and collective place in twentieth
century British Art.
All of the works in this catalogue have come from the Estate of Catherine
Moody and represent the most important body of Victor Moody’s oeuvre
to have ever come on the market. We are especially grateful to Stephen
Whittle for the introductory essay to this catalogue. As the culmination of
two decades of research it provides an excellent context for Victor Moody’s

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