Study for ‘The Seaside’ c. 1965 - 1966

Curator: This is William Roberts’ study for ‘The Seaside,’ housed here at the Tate. Editor: It has a curious, almost mechanical feel—these figures seem less like sunbathers and more like components in a larger structure. Curator: Roberts, born in 1895, often explored themes of working-class leisure, portraying figures with this distinctive, blocky form. This piece, with its under grid, showcases his process. Editor: The grid is interesting. It emphasizes the constructed nature, how Roberts approaches the human form as modular, geometric shapes arranged within a defined space. It also reminds me of early photography and mapping. Curator: Indeed, the post-war era witnessed a surge of interest in social realism, and this seaside scene reflects a desire to depict everyday life. The figures are depersonalized, everyman types rather than individualized portraits. Editor: But the emotional resonance is muted. There’s a certain detachment in the rendering, perhaps mirroring a broader societal shift away from romanticism and towards a more pragmatic view of existence. Curator: A fascinating lens through which to view Roberts’ oeuvre. Editor: It gives one much to consider.