Philpot’s art defied the tether of any particular movement and was marked by a dramatic shift in style towards the end of his life. In the early 1930s, Philpot began producing sculpture that, while rejected by critics and the Royal Academy, adopted modernist innovations of the period which, in turn, allowed him to incorporate a more expressive and fluid approach to his painting. In his words, he sacrificed “expected qualities of surface in order to obtain more rapidity and flexibility of handling and a greater force of accent. With this had gone a simplification of form, dispensing with exactitudes of drawing to obtain greater emotional weight in line.”
Philpot’s ‘new manner’ was unveiled at the Royal Academy in 1932. He had built a considerable reputation for his society portraiture and as a “brilliant continuator of Tradition,” and this new output appeared to reject all that was appreciated in his prior work. An article in The Scotsman appeared with the subtitle ‘Glyn Philpot “goes Picasso”’, while in The Times Frank Rutter wrote: “Some surprise will be caused by the paintings in the last room from Mr. Glyn Philpot, R. A., who has “gone modern” with a suddenness that must create concern. The change ... may bring him new admirers but is likely to scandalise his old adherents.” Harmonies of colour and a freshness of handling were at the forefront of these later works, which included male models and partners. Philpot refused to explain the reasoning behind the change, beyond his pursuit of personal truth.

During this Modernist Phase in the 1930s, Philput turned to still life. As he is most known for his portraits still lifes like Lillie and Irises are comparatively rare and offer a more personal and experimental side to his art and for this reason are particularly sought after. They are represented in public collections including Gallery Oldham and the National Gallery of Victoria.

Glyn Philpot (1884–1937) was a prominent British portrait painter known for his elegant and technically accomplished works, as well as his contributions to the cultural landscape of early 20th-century Britain. Philpot's early work was influenced by the aestheticism movement and the work of artists such as James McNeill Whistler and Edward Burne-Jones. He developed a distinctive style characterised by its attention to detail, its rich colours, and its sensitivity to the human form. Philpot's portraits are celebrated for their psychological depth and their ability to capture the essence of his subjects with a remarkable empathy and insight. He painted many prominent figures of his time, including members of the British royal family, politicians, writers, and artists, earning him widespread acclaim and recognition. In addition to his portraits, Philpot also produced a wide range of other works, including landscapes, still lifes, and religious subjects. He was particularly interested in exploring themes of spirituality, sexuality, and the human condition in his art, often drawing inspiration from classical mythology and biblical stories.

Throughout his career, Philpot exhibited his work widely in galleries and museums throughout Britain and abroad, earning numerous awards and honours for his artistic achievements. He was elected a member of the Royal Academy of Arts in 1923 and served as its president from 1933 until his death in 1937.