Did you know that one of Britain’s most beloved painters was often dismissed as 'cartoony' or 'juvenile'? Beryl Cook, a master of capturing everyday life with humor and heart, was rarely taken seriously during her lifetime. But here’s where it gets controversial: a new exhibition in Plymouth is challenging that narrative, arguing that Cook’s work is far more sophisticated and groundbreaking than critics initially gave her credit for. And this is the part most people miss—her art wasn’t just about quirky characters; it was a bold celebration of working-class life, body positivity, and queer culture, decades before these themes became mainstream.
Curators of the Beryl Cook: Pride and Joy exhibition at The Box in Plymouth (https://www.theboxplymouth.com/events/exhibitions/beryl-cook-pride-and-joy) are making a compelling case: Cook’s portrayals of British life, particularly in Plymouth, were undervalued in her time. Now, 100 years after her birth, her work is finally receiving the serious artistic recognition it deserves. But why did it take so long? Was it her unique style, her focus on marginalized communities, or something more?
Cornwall-based artist Jo Beer is among those championing Cook as an underrated pioneer. 'People criticize her work as simplistic, but it’s incredibly clever,' Beer explains. 'She stuck to her style and made it instantly recognizable—a true British icon.' Fellow artist Flo Brooks adds, 'Her work is proudly working class, gorgeously fat, and unapologetically camp. There’s such love for the people and communities she depicted—it’s deeply moving.'
Born in Surrey in 1926, Cook spent part of her childhood in Africa before settling in Cornwall and later Plymouth, where her parents ran a guesthouse. Her art, much like her life, was a blend of observation and humor. Beer, a self-proclaimed 'people watcher,' admires Cook’s ability to capture the essence of everyday life. 'Her paintings aren’t realistic, but they’re filled with details that feel warmly familiar—places we’ve all been, people we’ve all known,' Beer notes. 'She took little details from real life and made them uniquely hers—she ‘Beryled’ them.'
But here’s the controversial bit: while Cook’s work is often labeled as whimsical, Terah Walkup, curator at The Box, argues it’s anything but superficial. 'She wasn’t just painting caricatures; she was documenting marginalized communities with affection, technical mastery, and unflinching honesty,' Walkup says. 'Her work captures working-class joy, body positivity, and queer culture in a way that’s only now being fully appreciated.'
The exhibition includes over 80 paintings, rare sculptures, textiles, photographs, and personal correspondence, alongside life-sized sculptures scattered across Plymouth. It also features a partnership exhibition at KARST gallery (https://karst.org.uk/), showcasing contemporary artists inspired by Cook’s spirit of generosity, humor, and social attentiveness.
So, was Beryl Cook misunderstood, or was the art world simply not ready for her? Victoria Pomery, chief executive at The Box, believes it’s time for a reappraisal. 'Cook painted Plymouth with the same seriousness that Sir Joshua Reynolds painted portraits,' Pomery says. 'That’s a radical act.'
But what do you think? Was Beryl Cook a pioneer ahead of her time, or is her work still being overhyped? Let’s spark a conversation—share your thoughts in the comments below. And if you’re in Plymouth before May 31, don’t miss the chance to see her work for yourself. It might just change the way you think about art.
