Rita Greig (1918-2011)

               Rita Greig was a distinguished British painter and printmaker whose art career spanned several decades and was marked by quiet achievement and critical acclaim. Born in Norwich, Norfolk in 1918, Greig developed her artistic talent early, studying privately after completing grammar school. Although she was largely self-taught, her deep commitment to drawing and painting from life became the cornerstone of her career.

Greig’s work focused on figurative and representational subjects, often depicting children, family life, rural scenes, and the English countryside. Her delicate use of colour, atmospheric compositions, and refined draughtsmanship earned her respect within the British art world. Her paintings are recognized for their quiet intimacy and subtle emotional resonance, capturing everyday life with warmth and sensitivity.

Her professional breakthrough came in 1974 when she was elected a member of both the New English Art Club (NEAC) and the Royal Institute of Oil Painters (ROI)—prestigious institutions that have historically represented the finest in traditional British art. That same year, Greig received a Silver Medal at the Paris Salon, an international honour that marked her as an artist of international standing. In 1983, she was also elected to the Royal West of England Academy (RWA), further solidifying her reputation as a leading figure in contemporary figurative painting. Throughout her career, she exhibited widely in the UK and abroad, with her works featured in the Royal Academy Summer Exhibitions and other major group shows.

Greig developed a distinct artistic style that blended traditional figurative painting with a sensitive and often nostalgic depiction of British rural life. Her work is characterised by naturalistic portrayals of people, landscapes, and domestic scenes painted using a gentle, muted colours that conveyed calm and introspective moods. While representational, her work often featured visible brushstrokes that added a tactile, expressive quality. Her training and skill in drawing underpinned her compositions, evident in the structure and proportion of her figures. Many of her paintings feature children, family life, interiors, and pastoral settings, creating a sense of personal narrative and quiet observation. As a member of the New English Art Club, Greig aligned with its emphasis on observational drawing and painting from life, continuing the legacy of artists like Walter Sickert (1860-1942) and Gwen John (1876-1939). Her work shows affinities with the early twentieth-century British artists associated with the Camden Town Group, who combined impressionist technique with working-class and domestic subjects. The influence of French salon painting, particularly in her use of light and composition, can also be traced. Greig’s artistic voice sits comfortably within the lineage of British figurative painting, offering a personal yet timeless reflection on everyday life. Her work is noted for its quiet dignity and emotional restraint, hallmarks of a painter deeply attuned to the subtleties of human presence and environment.

Greig’s art is held in numerous public and private collections, including Chase Manhattan Bank, reflecting the enduring appeal of her work. Despite her success, she remained a modest figure, focused more on the practice of painting than the limelight. Today her work is appreciated by collectors for their emotive portrayal of everyday life and the British landscape.