Leon Vilaincour

In 1950, Vilaincour began teaching painting at Chelsea School of Art, under its Principal Harold Williamson and later Sir Lawrence Gowing. He taught there until 1988.

As well as teaching, Vilaincour continued to paint throughout his life, mainly in oils and watercolours. He received an Arts Council Major Award in 1977, and the Lorne Award in 1981. He had four major one-man shows within his lifetime, including at the Serpentine Gallery in London, and his work is represented in the Tate and the Arts Council Collection.

He exhibited at Royal Academy Summer Exhibitions in the 1970s, and his works have been shown in other exhibitions over the years, including at John Moores Exhibition 13 (1982-83) at the Walker Art Gallery, Liverpool, where he was a prize-winner.

One of Vilaincour’s paintings in the Arts Council Collection, The Chalice, was on display for many years in the Purcell Room in London’s Southbank Centre. Another of his works, 1804-1995, was exhibited at Tate Britain to mark his 80th birthday in 2003, and again after his death, in 2016.

In 2003/4, Vilaincour was interviewed for the British Library’s “National Life Stories” project, which led to an article about him and his work by Richard Morphet, formerly Keeper of the Modern Collection at the Tate Gallery, in the project’s annual review. Here, Morphet discusses 1804-1995:

In a space that [is] at once illogical and true to his vision, Vilaincour brings together motifs taken from different points in history. They include details of an Adjutant General’s uniform in Napoleon’s army, Polish cavalry pennants, two early twentieth century Belgian accordions inscribed with their makers’ names, the standard of an accordionist’s fraternity and the coloured bulbs and shell-like lightshades in an actor’s dressing room. Gold pointillism is like a veil over these memories, while bubbles suggest the scene is underwater. [His] delight in the artifice with which the objects were made merges, for the viewer, with delight in Vilaincour’s painterly skill. (Richard Morphet, National Life Stories Annual Report, 2005-6, p. 11)

As frequently seen in Vilaincour's work, 1804-1995 depicts themes reflecting his European roots, combined outside their own time and space, yet with their own often mysterious logic and underlying connections.

The French and Napoleonic themes which predominated in the 1960s - 70s gave way to an ever increasing exuberance and colour, with inspiration ranging from folk culture to the intellectual life and sophistication of Viennese cafés.

While he didn't speak much of the Holocaust, in later years Vilaincour's work started to tell of this terrible chapter in history. A series entitled 'Mit brennender Sorge', referring to a papal encyclical of 1937 expressing concern at the actions of the Nazis, reflects the horrors of the concentration camps. Nevertheless his treatment of this era has a beauty that honours the many family and friends who were lost.

Despite great personal tragedy and loss in his early life, Vilaincour was known for his warmth and his humour. These attributes, together with keen observation, an extraordinary imagination and expressive use of colour and form, were the grounding for a rich and unique oeuvre.

For over 30 years, he was a much loved teacher at Chelsea School of Art. This was an innovative institution very much at the forefront of its era, where he worked alongside such well known British artists as Norman Blamey RA, Prunella Clough and Patrick Caulfield RA.

At the same time he pursued his own painting career, leaving a legacy of oils, watercolours, prints and drawings. These are a vivid record of his times and his highly individual imagination.

Vilaincour's early years were spent travelling between Kraków and Paris with his mother. She was the designer and textile buyer for the family dress making business in Kraków, and visited Paris several times a year for the seasonal fashion shows.

Like many Poles of the time, Vilaincour had a fascination for France of the Ancien Régime and the Napoleonic era. Without the funds to collect art and artefacts, he turned to drawing. He spent many hours in Parisian museums such as the Invalides, copying details of clothing and cavalry equipment.

In the late 1930s, being of Jewish heritage, Vilaincour was sent to a boarding school in England, for safety from the rising threat of the Nazis. After school, he received a scholarship to study at the Central School of Art and Crafts (now Central St Martin's), but soon volunteered to join the British army. He was injured in training, and returned to his studies, before becoming a teacher, also at the Central. It was here that he met his wife, the artist Roberta Cameron Smith, and they married in 1948.

1923 - 2016

Leon Vilaincour was born in Kraków, Poland, in the turbulent interwar years. His art was born of a fascinating period in European history, and encompasses vibrant depictions of culture, conflict and personalities.

Self Portrait, 1940s

For over 30 years, he was a much loved teacher at Chelsea School of Art. This was an innovative institution very much at the forefront of its era, where he worked alongside such well known British artists as Norman Blamey RA, Prunella Clough and Patrick Caulfield RA.

At the same time he pursued his own painting career, leaving a legacy of oils, watercolours, prints and drawings. These are a vivid record of his times and his highly individual imagination.

Vilaincour's early years were spent travelling between Kraków and Paris with his mother. She was the designer and textile buyer for the family dress making business in Kraków, and visited Paris several times a year for the seasonal fashion shows.

Like many Poles of the time, Vilaincour had a fascination for France of the Ancien Régime and the Napoleonic era. Without the funds to collect art and artefacts, he turned to drawing. He spent many hours in Parisian museums such as the Invalides, copying details of clothing and cavalry equipment.