Exhibited: Royal Academy, 1953, no. 144.
Bush saw the ancestry of his art in the quiet dignity of Dutch and Flemish domestic scenes, and, as his younger daughter recalled, mixed pigments and oils, ‘so that his work should mellow, glow and last, and if possible, improve‘ (The Art of the Garden, Tate, 2004, p. 85)
Bush’s paintings so obviously mirror the ordinary world we see around us in the U.K (the houses are very specific to England ‚Äì even London suburbia). His gift is to take that reality’ beyond the immediate to something still and satisfying, yet still rooted in and expressed through, the everyday.
We are grateful to Peter Quartermaine for his assistance.
Exhibited: Sanctuary, Artist-Gardeners, 1919-39, Garden Museum, London, 25th February ‚Äì 5 April, 2020
Literature: Christopher Woodward, Sanctuary: Artist-Gardeners, 1919‚Äì1939, published by Liss Llewellyn, 2020