Charles Hardaker NEAC RBA sadly passed away in September 2025. He was elected to the NEAC in 1969, and was also a Member of the Royal Society of British Artists, the Small Paintings Group, and an Associate of the Royal College of Art. In his work, he aimed ‘to show something of the wonder and mystery of the so-called ordinary world – “The ordinary is extraordinary."'
Below are touching memories of Charles from his fellow NEAC members including Toby Ward and Daniel Shadbolt, and Jason Line who leads the tributes...
Jason Line:
I knew of Charles Hardaker from an early age, as he was one of the first artists to appear at Art in Action, an arts and crafts festival at Waterperry House in Oxfordshire that I visited when it first opened in the mid-1970s. But it wasn't until I was sixteen that I actually met him properly when I attended art classes at St Oswald Studios. Although I was never taught by Charles, he had a studio there, and if we ever passed each other in the corridor, we would exchange a hello, and sometimes he might give me an encouraging word or nod at a drawing that I had done.
In those early years when I was at art school and over the years since, he was always interested in and supportive of what I was doing. He would come, if possible, to any exhibitions that I might have. He was honest in his opinions, and if he had any reservations about a painting, he’d let me know in his own quiet and gentle way. I was thrilled when he bought a drawing of mine just after I left college years ago, and was touched to see it again in his studio when I visited him a year ago.
Open Doors with Metronome, oil, 16x16"
His range of subject matter was broad – from portraits, landscapes, the urban landscape, commuters on trains – but the area that he explored most, and probably what he was most known for, was the still life and the interior, mostly of his studio. His still life paintings were made from his large collection of pots, pans, vases, small sculptures, and geometric models, which he used in a myriad of ways to express different ideas – from very simple, well-balanced arrangements to more complex, geometrical constructions of objects placed within cardboard boxes.
The larger interior paintings are often reminiscent of seventeenth-century Dutch interiors with open doors and empty chairs that evoke a quiet atmosphere, made more mysterious sometimes by the addition of a figure glimpsed through the doorway. With all his work, there lies a powerful presence and an air of profundity which may be explained by the fact that Charles’s life and work were shaped very strongly by his practice of meditation and the study of philosophy. Particularly, that of the Vedanta tradition from India, Ficino’s Christian Platonism, and other spiritual teachings.
A Singing Bowl, oil, 45x30cm, NEAC Annual Exhibition 2022
Besides his observational paintings, he embarked on a number of imaginative works, including a series of paintings based on the Book of Genesis. An ambitious and challenging body of work I thought to be very strong, comprising mostly monochromatic semi-abstract paintings akin to Turner with their large expressive swathes of light and rich dark tones.
His love and knowledge of art – particularly that of painting – was huge, and he had an insatiable curiosity about the world around him. When visiting his studio, you not only saw the usual paraphernalia of the artist but also a piano which he played, a floor-to-ceiling wall of books, and a writing desk, on which lay bundles of letters and writings of all sorts. On the wall were pinned small studies, diagrams, Post-it notes with quotes mainly by various artists, philosophers, and poets – all written in his own fine, calligraphic hand.
Even though our paths only crossed intermittently over the years, any conversation I had with him, however short or seemingly mundane, felt precious and a real treat – whether it was about a particular colour paint he was using or an exhibition he’d recently seen. In one of my last meetings, we discussed at length the challenge of painting a still life that consisted of one object: to not just paint the surface of the object, but also to capture its essence. This undoubtedly fired his imagination, and his eyes lit up with such excitement at the thought that I half expected him to rush off, there and then, back to the studio and get painting.
Still Life – Vertical Structures, Three times Three, Oil on canvas, 48x36", Tate Collection
Toby Ward:
About twenty years ago, I pitched up at a big tented event near Oxford called Art in Action in which artists and crafters of all disciplines would perform in front of the paying public. In those days, I knew very little about the New English Art Club except for the names of a few members – most of whom seemed to be there demonstrating alongside me.
Charles was one of them and quickly came to say hello, check that I was happy with the setup, and answer all my questions. Throughout the course of the event, over several days, he would check up on me to see if all was well.
As well as his thoughtfulness, I remember watching him make his quiet, beautiful paintings of the corners of white rooms, open doors, and groups of much-loved objects, including large white enamelled jugs which he had brought along as part of his still life demonstration. This was possibly the first time I had done anything like this and worked with other painters, and Charles’s friendly welcome into the group meant a great deal; I never forgot it.
Still Life Trio, Oil, 40x50cm, NEAC Annual Exhibition 2022
Daniel Shadbolt:
Charles was kind to me at Art in Action some twelve years ago now. He took the time and was thoughtful enough to make me feel at home in the painting tent when everyone was very hard at work. From that time, I have always felt an interest and respect for his paintings, which can convey a feeling of wonderment among fairly humble subjects.
I visited Charles in 2023 at his beautiful studio, where I got to see many lovely pieces and inspiring drawings.
Photo credit: Daniel Shadbolt
For further information and images of Charles's paintings:
- See his NEAC artist profile page
- View his ArtUK profile, including portraits and cityscapes
