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.