At Tate Britain
Brian Dillon: Queer British Art, 7 September 2017
“... Sitwell from 1916. Laura Knight, three years earlier, had been condemned by the Telegraph for a self-portrait with a nude model that lacked ‘the higher charm of the “eternal feminine”’. A few such notable nudes aside, there is a tendency to allegorise lesbian desire in objects and interiors: as in Ethel Sands’s The Chintz Couch of 1911, or the ... ”