Gluck (born Hannah Gluckstein) was a painter whose diverse style reflected a singular approach to life. From the late 1910s on, Gluck forged a distinct path by refusing to adhere to expectations of gender and behavioural norms of the time. Gluck wore tailored suits and short hair, smoked a pipe and had a string of high-society female lovers, all of which caused great controversy at the time. Furthermore, Gluck insisted on being referred to solely as Gluck with “no prefix, suffix, or quotes” and resigned from a vice-president position at an art society after their letterhead read ‘Miss Gluck’.

Gluck’s subjects included minutely detailed, stylised floral arrangements (influenced by Constance Spry, one of Gluck’s artistic associates and lovers), portraits of the beau monde and landscapes. Gluck never adhered to one style, constantly experimenting in numerous media and techniques. For instance, ‘Bank Holiday Monday’ (1937) has a loose, expressionist style, featuring broad strokes of colour and strongly abstracted figures. The vivacity and dynamism of the painting perfectly encapsulate the mood of spending a day off at the fair. In contrast, ‘Medallion (YouWe)’ (1936) demonstrates a rigorous level of control of the line and tone. The painting shows Gluck and Nesta Obermer (Gluck’s lover) in profile, side by side. The two figures gaze into the distance, towards a future together.

For decades, Gluck has been acclaimed as a society painter of flowers and portraits, the gender-questioning aspects of many works brushed aside. It is vital we recognise Gluck’s contribution to the question of gender, as well as the undeniable artistic power of Gluck’s paintings.