{"id":14,"date":"2026-05-22T16:46:39","date_gmt":"2026-05-22T16:46:39","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=14"},"modified":"2026-05-22T16:46:39","modified_gmt":"2026-05-22T16:46:39","slug":"how-churchills-art-saved-the-west","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=14","title":{"rendered":"How Churchill\u2019s art saved the West"},"content":{"rendered":"
\n

Real history has a habit of confusing those who go to it for comfort or outrage, for simple fairy tales or neat moral fables. From 1928 until the Seventies, Irish banknotes bore the image of the legendary heroine Kathleen Ni Houlihan: the hallowed embodiment of national virtue. This mythical Kathleen, however, also taught Winston Churchill how to paint.\u00a0<\/span><\/p>\n

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To be specific: Hazel, Lady Lavery \u2014 whose features her artist husband Sir John Lavery enlisted as model for the Irish Free State\u2019s legal-tender notes \u2014 set Churchill the artist free. She came calling while, brush in hand, the novice stood terrified before a virgin canvas. \u201cMy hand seemed arrested by silent veto,\u201d Churchill\u2019s 1921 essay \u201cPainting as a Pastime\u201d recalls. The Irish-American heiress, trained artist, and political <\/span>salonni\u00e8re <\/span><\/i>born as Hazel Martyn grabbed the brush. She lustily applied splashes of vivid blue to \u201cthe absolutely cowering canvas\u201d. Liberated, Churchill felt that \u201cmy sickly inhibitions rolled away\u201d. He seized the largest implement he could find (there\u2019s something phallic in this account) and set to work with \u201cberserk fury\u201d. As it often would for him, audacity prevailed.\u00a0<\/span><\/p>\n

Hazel Lavery, a Nationalist whose key backstage role in securing the Anglo-Irish treaty of 1921 may have included an affair with the Sinn Fein commander Michael Collins, had initiated the future icon of imperial Englishness into the pleasures of the easel. Churchill did receive some formal instruction in technique as well. That came later from the artists William Nicholson and Walter Sickert, but first from his Kensington neighbor John Lavery: a slum-born Ulster Catholic, and high-society portraitist, touted after independence as a suitable Governor-General of the Free State. The Lavery home at Cromwell Place convivially brought together political \u2014 even military \u2014 antagonists. For Churchill, from the outset, painting meant not diligent adherence to the rules but hedonistic self-expression fueled by friendship. A quasi-erotic thrill runs through his descriptions of the craft: \u201cThe colors are lovely to look at, and delicious to squeeze out.\u201d\u00a0<\/span><\/p>\n

Churchill created more than 500 artworks (mostly oils, but watercolors too) after he took up painting as a hobby following the d\u00e9b\u00e2cle of the Dardanelles campaign in 1915. His naval strategy a fiasco, his career shattered, the ousted First Lord of the Admiralty quit as Liberal MP for Dundee. He faced \u201clong hours of utterly unwonted leisure in which to contemplate the frightful unfolding of the War\u201d. While \u201ca spectator of the tragedy, placed cruelly in a front seat\u201d, the disgraced minister found that \u201cthe Muse of Painting came to my rescue\u201d. When he saw his sister-in-law, Lady Gwendoline Bertie (\u201cGoonie\u201d), happily at work with a paintbox, he decided to have a go himself.\u00a0<\/span><\/p>\n

Although peak productivity for his oils and sketches coincided with periods out of office, or in respite from its cares, he did paint scenes of the Western Front while an officer with the Royal Scots Fusiliers in 1916. Some French Riviera seascapes in 1921 \u2014 the fruit of a painting trip with Lavery \u2014 were executed after the then Colonial Secretary had helped shape the map of the modern Middle East at the Cairo Conference. During his years as wartime prime minister, Churchill claimed to have finished only one work, but ranked it among his best: a view of the Koutoubia Mosque in Marrakech, with the Atlas peaks behind it, painted after the Casablanca Conference in 1943, and given to President Roosevelt.<\/span><\/p>\n

To his devotees, holy relics; to his detractors, amateurish daubs: Churchill\u2019s pictures attracted large crowds when a selection toured the US and Commonwealth countries in 1958-9 (with support from the founder of Hallmark Cards), then came home in triumph to the Royal Academy. Their maker had been created a \u201cRoyal Academician Extraordinaire\u201d in 1948. Since then, the auction market for his work has boomed. Once the property of Angelina Jolie, that Marrakech scene was sold by Christie\u2019s in 2021 for \u00a38.2m. However, the six decades since his death have seen no large-scale public shows. Opening tomorrow, the Wallace Collection\u2019s exhibition <\/span>Winston Churchill: the Painter<\/span><\/i> gathers more than 50 pieces, half in private hands. For the Wallace\u2019s director Xavier Bray, this carefully-curated sample of his strongest pieces not only narrates \u201can autobiography through visual means\u201d, but represents \u201cthe closest we\u2019ll get to an apotheosis of Churchill as painter\u201d. <\/span><\/p>\n

Dappled garden vistas and shadowed pools at his Chartwell home in Kent; sunlit Mediterranean coasts under azure skies; armies of pines massing beside sandy shores; storm-roiled Highland glens and peaks; Moroccan townscapes and valleys washed in eerie desert light: Churchill\u2019s art throbs with a vibrant sense of place. Save for some melancholy scenes of wreckage on the Western Front \u2014 such as the forlorn shell-stripped trees above idling troops at \u201cPlugstreet\u201d (Ploegsteert) in Flanders \u2014 his painting escapes into landscape in search of solace and uplift. Art here means the commemoration of sensuous pleasure: in color, light, heat, atmosphere. As he wrote about the French Impressionists and their successors (guiding spirits for his work) they \u201cbrought back to the pictorial art a new draught of the <\/span>joie de vivre<\/span><\/i>\u201d. <\/span><\/p>\n

How good is Churchill\u2019s art? At the time, anonymized works impressed experts. When, exhibiting as \u201cCharles Morin\u201d, he had a small show at a Paris gallery in 1921, four out of five works sold, at \u00a330 each. In 1925, a bold, free, thickly-painted view of Chartwell under snow won a competition for amateurs, with no name attached; one adjudicator wanted to exclude it because it was clearly the work of a professional. A certain \u201cDavid Winter\u201d submitted two paintings to the Royal Academy Summer Exhibition in 1947: both were accepted under that name.<\/span><\/p>\n

Churchill struggled with human figures, as many amateurs do \u2014 although an angular, dramatically lit, self-portrait hints that he could have achieved more had he tried. Still, the balance and contrast of shade and texture in the strongest landscapes show both command of form and zestful close-focus attention to ever-changing effects of light, wind and water. He makes a captivating effort to match the <\/span>plein air<\/span><\/i> dynamism and fluidity of the Impressionists he loved. Unlike his dark and shady prose, Churchill\u2019s paint exults in acid, strident colors. \u201cI rejoice with the brilliant ones,\u201d he wrote of his preferred palette, \u201cand am genuinely sorry for the poor browns\u201d. The brighter, the better: the Mediterranean littoral, with its deep-hued collisions of sea, rock, tree, scrub and flower, always excited the ardent Francophile. <\/span><\/p>\n

Let\u2019s not invoke C\u00e9zanne, Monet or Matisse, his favorites: Churchill knew his limits and felt content with \u201ca joy-ride in a paintbox\u201d. His loose, mobile brushwork and zestful, garish palette can sometimes seem more slapdash and casual than truly evocative. High-level dilettante pieces they may be, but they both reflect, and convey, that delight in process and practice. When he apes the quicksilver Impressionist pursuit of light and wind, his relative clumsiness can slow down, and weigh down, the work. Churchill was correct to think that Morocco \u2014 which he visited six times between 1935 and 1959 \u2014 brought out the best in his painting and yielded works \u201ca cut above everything I have done so far\u201d. A firmer control of plane and volume in this clarifying air joins with starker, though coherently connected, blocks of color: ochre, rose, purple, leaf-green, deep blue. This landscape has shape and sinew as well as shimmer.\u00a0<\/span><\/p>\n

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The great art critic Sir Ernst Gombrich \u2014 who had fled Hitler\u2019s Europe in 1936 \u2014 delivered a judicious verdict in 1965, the year of Churchill\u2019s death. For Gombrich, Churchill\u2019s \u201cbasic idiom was that of his whole generation of British painters\u201d. Rebels against strict academic procedure, they hailed the Impressionists and their heirs as liberators, and never quite escaped their shadow. They reveled in \u201cthe joy of painting boldly in strong colors without retreating from likeness\u201d, but didn\u2019t opt to follow the Picasso generation into abstraction. Churchill shared, and indulged, that cult of \u201cspontaneity\u201d and \u201cfreshness of vision\u201d, and his work could achieve \u2014 as his RA acceptance shows \u2014 \u201ca standard of competence that satisfied the guardians of traditional skills\u201d.\u00a0<\/span><\/p>\n

Churchill, however, was a writer \u2014 over many \u201cwilderness\u201d years, a well-paid author and journalist \u2014 before he was a painter. What really impresses Gombrich is the critical acumen displayed in \u201cPainting as a Pastime\u201d. These meditations on art \u201cbeat most professional critics hollow\u201d. Churchill treats picture-planning and execution as a heroic exercise in strategy, vision and realization. So the overarching design of a Turner, say, testifies to \u201can intellectual manifestation the equal in quality and intensity of the finest achievements of war-like action\u201d, or of \u201cscientific or philosophical adjudication\u201d. As Gombrich glosses Churchill\u2019s argument, \u201cif painting is like generalship, then generalship is like painting\u201d. The artist\u2019s war to execute a vision ranks with the art of war itself.<\/span><\/p>\n

Can we plausibly relate Churchill\u2019s painting to his politics? After all, Adolf Hitler also loved painting \u2014 from early youth, rather than as a middle-aged latecomer \u2014 and was, notoriously, twice rejected in his applications to the Vienna Academy of Fine Arts, in 1907 and 1908. Gombrich sounds a justifiable note of caution about the hunt for an essential bond between Churchill the epoch-making statesman and the holidaymaker at his easel. He warns against \u201ctrivial and deceptive\u201d equations of style and ideology: \u201cHitler, the screaming demagogue, painted tame watercolors.\u201d For Gombrich, \u201cnobody could learn much worth knowing about either of the protagonists of World War Two from a contemplation of their works\u201d.\u00a0<\/span><\/p>\n

For sure, specious attempts to contrast Churchill\u2019s \u201cfreedom-loving\u201d outdoor vistas with Hitler\u2019s \u201crepressive\u201d views of Vienna landmarks seldom convince. Anti-Churchillians will quickly point out that an aesthetic taste for rule-breaking spontaneity and happy-go-lucky self-expression did not extend to striking trade unionists (in his early career) or colonized Indians (before and during the Second World War). The apostle of liberty could also be the enforcer of unjust order. Likewise, Hitler\u2019s fussy, anxious architectural sketches that failed to please the Vienna selectors may have revealed only a hesitant nobody from Linz, not the future maestro of genocide. The professor who spotted the young aspirant\u2019s lack of interest in human figures grasped that his strengths lay in architectural form. He thought that the candidate should consider an architecture course instead \u2014 and, as F\u00fchrer, Hitler would empower Albert Speer to fulfill his megalomaniac master-planning dreams.\u00a0<\/span><\/p>\n

But Churchill, too, tended to avoid the figure \u2014 although the Wallace show does feature still-lifes whose poignant assemblies of abandoned bottles and jugs (one, from 1926, is entitled \u201cBottlescape\u201d) somehow summon the forms of absent drinkers. In both cases, artistic difficulty rather than private psychopathy may explain a reluctance to put the body in the frame. All the same, it will be difficult for many visitors not to extrapolate some kind of socio-political personality from the landscapes in these rooms.\u00a0<\/span><\/p>\n

Great freedom of method and effect \u2014 as in the open, rapid, busy brushwork of the sea in \u201cCannes Harbour at Sunset\u201d \u2014 coincides with an urge, sometimes thwarted, to find balance and harmony in the tonal relations of the scene, and the pattern of its elements. Gombrich might disapprove, but quite a few of these works do seem to blend a bold, even erratic, enjoyment of surface liberties with an underlying quest for structural order. You might even call it Whig (rather than Tory) art. In contrast, the young Hitler\u2019s ultra-disciplined landscapes lock nature, and its perception, into a rigid topographical frame.\u00a0<\/span><\/p>\n

The Wallace Collection show will hardly shift the opinions of Churchill disciples, or dissidents. To them he will remain either the spotless warrior hero of the Anglosphere, or the incarnation of imperialist brutality. It does reveal a public man for whom the dedicated pursuit of pleasure, and relaxation, mattered: not as a phoney \u201chinterland\u201d to bulk out a political CV, but a foundational source of strength. The escape also served as a renewal. \u201cPainting is complete as a distraction,\u201d he wrote: \u201cI know of nothing which, without exhausting the body, more entirely absorbs the mind.\u201d Whether or not you reverence the foreground Churchill, the background Churchill \u2014 the artist and the author \u2014 did much to sustain and protect him.\u00a0<\/span><\/p>\n

Churchill once admitted that \u201cIf it weren\u2019t for painting I could not live. I couldn\u2019t bear the strain of things.\u201d Ernst Gombrich makes no overblown claims about the quality of Churchill\u2019s art. He does allow himself to comment that \u201cIf he was right, his painting may have helped to save Western civilization.\u201d\u00a0<\/span><\/p>\n

\u2018Winston Churchill: the Painter\u2019 continues at the Wallace Collection until 29 November<\/span><\/i><\/p>\n

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Real history has a habit of confusing those who go to it for comfort or outrage, for simple fairy tales or neat moral fables. From 1928 until the Seventies, Irish banknotes bore the image of the legendary heroine Kathleen Ni Houlihan: the hallowed embodiment of national virtue. 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From 1928 until the Seventies, Irish banknotes bore the image of the legendary heroine Kathleen Ni Houlihan: the hallowed embodiment of national virtue. This mythical Kathleen, however, also taught Winston Churchill […]","og_url":"https:\/\/cityflowjournal.com\/?p=14","og_site_name":"\u0421ity Flow Journal","article_published_time":"2026-05-22T16:46:39+00:00","og_image":[{"width":1920,"height":1323,"url":"https:\/\/cityflowjournal.com\/wp-content\/uploads\/2026\/05\/9e519c0974ba84b5aa657beb2f00435d.webp","type":"image\/webp"}],"author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"10 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/cityflowjournal.com\/?p=14#article","isPartOf":{"@id":"https:\/\/cityflowjournal.com\/?p=14"},"author":{"name":"admin","@id":"https:\/\/cityflowjournal.com\/#\/schema\/person\/eb5442f0ad6aa87f0eddf619a8d0abc4"},"headline":"How Churchill\u2019s art saved the West","datePublished":"2026-05-22T16:46:39+00:00","mainEntityOfPage":{"@id":"https:\/\/cityflowjournal.com\/?p=14"},"wordCount":2095,"commentCount":0,"image":{"@id":"https:\/\/cityflowjournal.com\/?p=14#primaryimage"},"thumbnailUrl":"https:\/\/cityflowjournal.com\/wp-content\/uploads\/2026\/05\/9e519c0974ba84b5aa657beb2f00435d.webp","articleSection":["hinterland"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/cityflowjournal.com\/?p=14#respond"]}]},{"@type":"WebPage","@id":"https:\/\/cityflowjournal.com\/?p=14","url":"https:\/\/cityflowjournal.com\/?p=14","name":"How Churchill\u2019s art saved the West - 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