Spencer Gore (1878 - 1914)

"'The mad Pierrot' ballet at the Alhambra (Ballet-Alhambra)" 1911

"The mantlepiece at Mornington Crescent" 1920

"Gauguins and Connoisseurs at the Stafford Gallery" 1911

"The beanfield, Letchworth" 1912

"The artists wife" 1913

"The gas cooker" 1913

"The cinder path"

"Self portrait"

"Letchworth Station" 1912

"Icknield Way" 1912

"Rule Brittania" 1910

"Interior"

"Inez and Taki" 1910

"Artists wife, Mollie Gore"

"Balcony at the Alhambra" 1910-11

He studied at the Slade School of Fine Art, London (1896–9), where he met Harold Gilman, who became a close friend. In 1902 he visited Spain with another Slade contemporary, Wyndham Lewis, and two years later he visited Sickert in Dieppe. From that time on his work was influenced by French art, and Gore learnt much about Degas's paintings through Sickert's teaching. After Sickert's return to London in 1905 Gore frequently accompanied him to music halls and made them the subject of several paintings, for example The Mad Pierrot Ballet, the Alhambra (c. 1905; London, Anthony d'Offay Gal.)

As a founder-member of the Fitzroy Street Group, Gore came into contact with Lucien Pissarro, whose Impressionist method he adopted in his garden scenes and in the Cricket Match (c. 1908–9; Wakefield, A.G.). With Gilman and others he helped found the Allied Artists' Association and was also involved in the formation of the Camden Town Group in 1911. After seeing Roger Fry's Post-Impressionist exhibitions of 1910 and 1912, he was one of the first Camden Town artists to switch from an Impressionist-based technique to one that comes closer in appearance to stained glass. It is first seen in landscapes he painted at Letchworth in summer 1912, in the insistent pattern-making in The Beanfield (London, Tate); he later gave way to the influence of Cézanne, employing a more complex orchestration of form following his move from Camden Town to Richmond, Surrey, in 1913. His early death was caused by pneumonia.