Sue Hubbard writes about Chantal Joffe in The London Magazine

I have long been interested in the work of Chantal Joffe and have written about her on several occasions. Her figurative paintings of family and friends are routed in a gritty, observed reality which makes her unusual in an art world full of insouciant irony. She’s interested in people, their inner landscapes and what makes them tick. She’s also interested in the materiality and language of paint which she uses with verve and vitality. She’s obsessed with what paint can be made to do and what it can tell us.

There are many influences to her work. The American artist Alice Neel. Renaissance portraits of the Madonna and child. But there’s one influence that connects us directly, as writer and artist – the little-known German painter, Paula Modershon-Becker (1876-1907). There is a self-portrait of Paula in the Courtauld but you’d be hard pressed to see any more of her work in this country. Most of it is in Germany. Joffe’s new exhibition at The Lowry, which uses a quote from Modersohn-Becker as its title is, in many ways, a homage.

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Image: Chantal Joffe, Poppy, Esme, Oleanna, Gracie and Kate, 2014

Oil on canvas, 40 x 80 cm, 15 3/4 x 31 1/2in

© Chantal Joffe

Courtesy the artist and Victoria Miro, London/Venice