Emma Kennaway and the Dance .
"Too often we strive to keep things too much apart , safe in their boxes, most especially in th Arts , as though the Painter the Poet , Musician Dancer are necessarily creatures distinct , and safer in their own uncontaminated worlds . Such a waste , such a mistake .
It is so obvious yet easy to forget that Theatre and the Dance are quite as much visual arts in the experience of them as ever they are dramatic or musical , while Painting and Drawing too have their formal paces and practical rhythms . And with their interaction comes sympathy , and with sympathy a deeper mutual understanding and recognition by which we all gain .
It is precisely for this reason that Emma’s long association with The Birmingham Royal Ballet is not just important – important is too light a word – but of immense
value . Any collaboration of this kind , however short ,is of course to be welcomed, but extended over such a period as this has enjoyed is to allow for richer and deeper integration , and with it full recognition and respect .
For her the mature transition from the freer grace and movement of the Horse to the musical rhythms and disciplines of the Dance ,both individual and combined , was surprisingly small and in retrospect obvious a step to take , eagerly welcomed on all sides . Such true engagement is a habit we must hope will spread ."
William Packer ( painter and critic ) - July 2023
“Dr Colin Niven of Alleyn’s had never tried oil painting and was keen to have a go, so I let him paint the colours on his tie. Technically, I suppose, you could say the portrait was done by Emma Kennaway and Colin Niven!
Extract from a feature on Emma Kennaway - The Conference and Common Room spring 2008
“It is a commonplace observation that a portrait is a painting in which there is something wrong with the mouth, the eyes or the nose, but with Miss Kennaway there is seldom any such problem, for not least of her qualities as a painter is a quite remarkable gift for catching and fixing a likeness”
William Packer Art Critic Financial Times
“Mandana Ruane was painted by Emma Kennaway, winner of the prestigious Garrick/Milne Prize for Portraiture
how can you show your face? - The Financial Times Weekend magazine
“Because horse painting has such a strong tradition in British art, it is easy for critics to dismiss modern practitioners as unoriginal. Emma Kennaway stands in proud descent from Stubbs, but she builds impressively on the lineage. Comparatively few portraitists human or equine – can portray movement along with a likeness. That ability is particularly valuable to a painter of horses, and Emma certainly has it.”
Huon Mallalieu Art Critic Country Life
“One of the best equine artists in the world today.”
Harrods Halcyon Magazine
“Emma is an inspired artist with a superb technique, and she has an inborn sense of the spirit of horses. She succeeds in making a likeness together with movement which few artists have ever achieved. When looking at her work one can feel the sheer power of these animals and their perfect muscular form. Her accurate rendering of their anatomy is reminiscent of Leonardo da Vinci”……… “ this is the work of a genius.”
Marion Maitland Art Critic Kensington and Chelsea Today
“So refreshing to see such brilliant work instead of the usual old tat that passes for equine art.”
Jamie Reid FT How to Spend It Magazine
“Emma Kennaway is an exceptional artist with an innate sense of the spirit of horses, matched with brilliant artistic technique. It was a privilege to work with an artist of her stature and talent.”
Susannah Thomas Equine Director Makers Mark Secretariat Centre For Thoroughbreds, Kentucky USA