Pickard painted landscapes, portraits and still-life in oils, like her fellow
'Cheyne Walker' Ethel Walker, she divided her time between London and North Yorkshire. Many of her works were interiors with still-life arrangements and windows, sometimes with a female figure, echoing the concern of other contemporary artists - such as her friend Beatrice Bland, and Gwen John - with the representation of femininity in relation to interior and exterior space. In her painting The Green Balcony (c.1927, Tate), shadows cut across a riverside balcony, on which stands an empty wicker chair, Pickard exhibited at the New English Art Club (becoming a member in 1923), at the International Society of Painters, Sculptors and Gravers, and at the Royal Academy.
Among Pickard's paintings at her memorial exhibition held at the Alpine Gallery, London in 1928, was Mrs. Fisher Prout by Lamplight, which is likely to have been a portrait of Millicent Margaret Fisher Prout. In the catalogue, the artist and critic D.S. MacColI located Pickard in the tradition of Monet and Pissarro, concluding 'I think no one will deny that... the painter of Mrs. Fisher-Prout could reach at times a masculine force.' |
