The Woolshop by  Sir Stanley Spencer

The Woolshop 1939

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Dimensions: support: 916 x 610 x 23 mm

Copyright: © Estate of Stanley Spencer. All Rights Reserved 2014 / Bridgeman Art Library | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: Sir Stanley Spencer's "The Woolshop" presents a fascinating study of everyday life, though its exact date remains unknown. Editor: It’s incredibly tactile, isn't it? I immediately want to touch the wool, feel the texture of the fabric. Curator: The layering of material in "The Woolshop" hints at the social fabric of post-war Britain. Consider the accessibility of these commodities, the availability of fabric and raw materials impacting domestic production. Editor: And look at how the composition focuses on the labor of choosing and displaying the yarn. The very act of shopping is presented, rather than idealised images of finished products. Curator: Indeed. Spencer elevates the mundane, highlighting the shop not merely as a retail space but as a site of exchange and interaction. Editor: It makes you think about the impact of shops on our neighborhoods and the importance of access to these essential materials. Curator: It's a reminder that even ordinary scenes can be rich with material and social meaning. Editor: Absolutely, Spencer pushes us to consider the stories woven into the simplest of settings.

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tatebritain's Profile Picture
tatebritain about 2 months ago

http://www.tate.org.uk/art/artworks/spencer-the-woolshop-t12548

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tatebritain's Profile Picture
tatebritain about 2 months ago

This work was inspired by Spencer’s visit to a wool shop with his friend Daphne Charlton while staying in rural Gloucestershire at the end of the 1930s. It originates in a series of drawings of Charlton and himself and was made in the wake of his turbulent relationship with his second wife, Patricia Preece, and after leaving his former home at Cookham in Berkshire. Spencer later recalled that ‘Stonehouse had several of these small local shops such as I remembered years ago in Cookham. The Cookham ones must have emigrated there.’ Gallery label, November 2016