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From The Art Journal, 1909, p253: Mrs. Swynnerton’s ‘St. Martin’s Summer’ is a most glad and confident painting. It should be seen as a decoration, making a single space of radiant colour, free of the confusions of colours surrounding it in a picture gallery. Her art is careless of particulars in this, as in other of her paintings. The wings of flamingo red are not organic to the figure, the painting of the clasped hands is cruelly raw. But the breadth and purity of the conception, the rose-tinted face with its close crown of golden hair, the body fair against the deep airy blue of the sky, have sweetness in their strength.

From The Englishwoman’s Review of Social and Industrial Questions, July 15 1909: [Annie] revels in life, in warm flesh-tints, and gorgeous draperies, as the portrait in this year’s Academy would testify. Symbolism characterizes much of Mrs. Swynnerton’s work, notably “The Sense of Touch” in Liverpool Gallery, and a fine picture now called “St. Martin’s Summer.” Here, once again, she depicts a woman who personifies her ideal of ample and glowing womanhood, one who seems to drink the beauty of life with eyes closed – in an ecstacy of happiness. Seen from a distance in broadly-painted flesh tones – and even the strongly outlined purple shadow on cheek and neck – take their right place in the scheme.

The title refers to a period of warm weather late in the year, St. Martin’s Day being 10 November.


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