A Long-Overdue Tribute to Beryl Cook: Celebrating a Radical and Joyous Artist
As the city of Plymouth prepares to bid farewell to its designation as UK City of Culture, a major retrospective of the work of Beryl Cook is set to shine a long-overdue light on her remarkable artistic contributions. The exhibition, Pride and Joy, opening next weekend at the Box in Plymouth, promises to showcase the vibrant and colourful paintings that have been misunderstood by many critics as mere kitsch or whimsy.
Terah Walkup, curator of the show, sees Cook's work as "a moment for Beryl Cook" β a celebration of an artist who was ahead of her time. Her meticulously crafted paintings not only captured the essence of working-class life but also celebrated body positivity, queer culture, and community identities that were often marginalised during that era.
Cook's fascination with Plymouth, where she lived from 1968 to 2008, resulted in some remarkable works of art, including the iconic Bar Girls painting (1972), which features two women enjoying a full pint of beer without any apology. This piece highlights Cook's ability to depict people occupying spaces unapologetically and celebrating their individuality.
Throughout her career, Cook drew inspiration from various sources, including local television news, newspapers, seaside postcards, the work of Amedeo Modigliani, and Pieter Bruegel the Elder. Her meticulous methods of working, which involved mining media for subjects and inspiration, have been documented in a "process and practice" section of the exhibition.
The impact of Cook's art can be seen not only in her paintings but also in larger-than-life sculptures that will be popping up across Plymouth. Jemima Laing, deputy leader of Plymouth city council, aptly describes these sculptures as "Plymouth's love letter to an artist who never stopped celebrating us."
Julian Spalding, a writer and former museum director, adds that Cook was one of the glories of British painting, drawing comparisons to William Hogarth and Thomas Rowlandson. When asked if she had ever considered creating something provocative, Cook replied, "No. If I thought it would make any difference, I might. But I don't." It's clear that her dedication to joy and celebration drove her artistic vision.
As the city of Plymouth prepares to celebrate its cultural identity, Beryl Cook's work serves as a powerful reminder of the importance of inclusivity, individuality, and community spirit. The Pride and Joy exhibition is not just an opportunity to rediscover Cook's remarkable art but also to appreciate the impact she had on her adopted city and beyond.
The exhibition will run until May 31, 2026, at the Box in Plymouth.
As the city of Plymouth prepares to bid farewell to its designation as UK City of Culture, a major retrospective of the work of Beryl Cook is set to shine a long-overdue light on her remarkable artistic contributions. The exhibition, Pride and Joy, opening next weekend at the Box in Plymouth, promises to showcase the vibrant and colourful paintings that have been misunderstood by many critics as mere kitsch or whimsy.
Terah Walkup, curator of the show, sees Cook's work as "a moment for Beryl Cook" β a celebration of an artist who was ahead of her time. Her meticulously crafted paintings not only captured the essence of working-class life but also celebrated body positivity, queer culture, and community identities that were often marginalised during that era.
Cook's fascination with Plymouth, where she lived from 1968 to 2008, resulted in some remarkable works of art, including the iconic Bar Girls painting (1972), which features two women enjoying a full pint of beer without any apology. This piece highlights Cook's ability to depict people occupying spaces unapologetically and celebrating their individuality.
Throughout her career, Cook drew inspiration from various sources, including local television news, newspapers, seaside postcards, the work of Amedeo Modigliani, and Pieter Bruegel the Elder. Her meticulous methods of working, which involved mining media for subjects and inspiration, have been documented in a "process and practice" section of the exhibition.
The impact of Cook's art can be seen not only in her paintings but also in larger-than-life sculptures that will be popping up across Plymouth. Jemima Laing, deputy leader of Plymouth city council, aptly describes these sculptures as "Plymouth's love letter to an artist who never stopped celebrating us."
Julian Spalding, a writer and former museum director, adds that Cook was one of the glories of British painting, drawing comparisons to William Hogarth and Thomas Rowlandson. When asked if she had ever considered creating something provocative, Cook replied, "No. If I thought it would make any difference, I might. But I don't." It's clear that her dedication to joy and celebration drove her artistic vision.
As the city of Plymouth prepares to celebrate its cultural identity, Beryl Cook's work serves as a powerful reminder of the importance of inclusivity, individuality, and community spirit. The Pride and Joy exhibition is not just an opportunity to rediscover Cook's remarkable art but also to appreciate the impact she had on her adopted city and beyond.
The exhibition will run until May 31, 2026, at the Box in Plymouth.