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Mrs H N Brailsford, 1946


London, Whitechapel Art Gallery, Cecil Collins, A Retrospective Exhibition of Paintings, Drawings and Tapestries from 1928-1959, November - December 1959, cat no.25

London, Tate Gallery, Cecil Collins, 10 May - 9 July 1989, cat no.22, illus b/w

Dartington, High Cross House, Cecil Collins: The Dartington Years 1936-1943, August - September 1997, illus colour p15


Alex Comfort, Cecil Collins: The Painter's Subject, Holywell Press, Oxford, 1946, illus colour p17

Bernard Denvir, Contemporary British Landscape Paintings, The Holiday Book, John Singer (ed), William McLellan, Glasgow, 1946, illus colour, plate IX
John Rothenstein, Modern English Painters, Volume 3, Wood to Hockney, MacDonald and Jane's, 1976
Brian Keeble, The Vision of the Fool and Other Writings, Golgonooza Press, Ipswich, 2002, illus colour pl 5, p197
Nomi Rowe (ed.), In Celebration of Cecil Collins, Visionary Artists and Educator, Foolscap, London, 2008, illus colour p67


Collins’ first solo exhibition in 1935 indicated his interest in mysticism and the influence of Paul Klee whose work he had seen in Paris. In 1936 he participated in the International Exhibition of Surrealism and published his first poems. Alex Comfort’s 1946 monograph and the artist's subsequent text The Vision of the Fool, declared Collins’s affinity with the Apocalypse poets and his advocacy of a visionary Neo-Romanticism in painting. Collins’s use of flattened and multiple perspectives and his stylised surfaces are highly distinctive. Here, a robed figure appears to greet the sun, the new day signifying the beginning of soul’s journey to Paradise.