Rose Wylie’s huge, bright, instantly recognisable canvases may appear cartoonish or child-like, but her work is carefully considered—a witty, sophisticated take on modern life and the nature of visual representation. Her single and multi-panel works often juxtapose discordant subjects.
Rose Wylie was born in 1934. She lived in India during the final years of the Raj, where her father worked in ordnance. When the Second World War broke out, the family moved to Bayswater, London, where she recalls bombing raids. She also remembers inheriting a paintbox—“My mother suggested I put it in the bath and clean it, but I resented that. I never wanted to clean the paint.” She studied art at Folkestone and Dover Art School during the 1950s but took 20 years out to raise her children before she returned to painting. She was married to the painter Roy Oxlade (1929–2014).
Rose Wylie’s works are vast but playful, using a bold colour palette to depict film stars, famous women, footballers and royalty, among other subjects. Inspired by the mundanity of the everyday, as well as the media she sees and reads, Wylie sketches and notes her experiences. She saves these observations, which often find their way into paintings more than once—she will frequently make several iterations of an idea or motif. Working on unprimed, unstretched canvases, she often uses white with umber, sometimes painting the canvas first and at other times leaving it bare. She also adds text to her artworks. Wylie likes to display panels at the angle of interconnecting walls. “I can see one drawing with another and as you flick a page over you can see a new combination. I’ve taken that process and simply continued with it into larger pieces of canvas,” she said in 2013.
Yes, Rose Wylie has painted footballers including John Terry, Thierry Henry (who she thought was “very cool”), Wayne Rooney, Ronaldinho and Peter Crouch. In her seven-metre-long oil painting Yellow Strip (2006), the footballers exhibit a real air of motion, popping out against tufts of grass. “We don’t have gods like the Greeks, but footballers and film stars are... gods and goddesses,” she said. Wylie used to watch Match of the Day with her late husband, the painter Roy Oxlade, but, because he was a Spurs fan, she supported any team that wasn’t Tottenham Hotspur.
Dedicating herself to bringing up her children, Wylie did not return to painting until she was in her forties. She began to be recognised during her late sixties and was shortlisted for the Threadneedle Prize (for figurative art) in 2009. When her work was selected for 2010’s Women to Watch exhibition at National Museum of Women in the Arts in Washington DC, she was profiled by Germaine Greer in the Guardian, which sparked a huge interest in her work. That same year, she was guest artist for Savannah Miller’s fashion label Twenty8Twelve.
Shockingly, yes. Rose Wylie’s 2026 Exhibition The Picture Comes First was in fact the first time in the 268-year history of the institution that a female painter had had a solo show in the main galleries of the Royal Academy of Arts.
Rose Wylie didn’t advertise Aero per se, but she was one of the subjects of a series of oil paintings commissioned by chocolate manufacturer Rowntree’s during the 1950s to promote its Aero chocolate bar. The pictures were discovered in an archive by researchers at the Borthwick Institute in York. Wylie was painted by Anthony Devas when she was an art student in Folkestone—on the rediscovery of the picture during the 2010s, Wylie said that she had never liked it.
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