You can find Charles Ginner's work in several public collections. Within the United Kingdom, these include: the Brighton Museum & Art Gallery (Royal Pavilion Gardens, Brighton); the Manchester Art Gallery (Mosley Street, Manchester); the National Museums of Scotland, Royal Museum (Chambers Street, Edinburgh); and the Victoria & Albert Museum (Cromwell Road, London). Other locations include the Courtauld Institute of Art Gallery (Somerset House, Strand, London), the National Gallery (Trafalgar Square, London), the National Portrait Gallery (2 Saint Martin’s Place, London), and the Tate Gallery (Millbank, London). Museums outside the UK that hold his work include the Los Angeles County Museum of Art (LACMA) in Los Angeles, the Metropolitan Museum of Art in New York, the Minneapolis Institute of Arts, the Museum of Modern Art in New York, the Royal Ontario Museum in Toronto, and the Virginia Museum of Fine Arts in Richmond, Virginia. You can also find his work at the Charles Hosmer Morse Museum of American Art (Winter Park, Florida) and the Wolfsonian at Florida International University (Miami Beach, Florida).

Charles Ginner was a British painter, influenced by Post-Impressionism. He is best known as a member of the Camden Town Group and for his urban scenes. While Ginner is primarily known for his oil paintings, he also produced a limited number of prints. These prints, like his paintings, often depict cityscapes and architectural subjects. He favoured linocuts and woodcuts, which suited his interest in bold forms and strong contrasts. Ginner's prints are characterised by their simplified shapes and attention to detail. They show an interest in the textures of buildings and the effects of light and shadow. His approach to printmaking aligns with his "Neo-Realist" aesthetic, which aimed to capture the essence of modern life through careful observation. His prints offer a more accessible entry point for collectors interested in his work, compared to his more expensive paintings. They provide insight into his artistic vision and his engagement with urban themes.

Charles Ginner, born in Cannes in 1878, is significant for his role in early twentieth-century British art movements. He studied at the Académie Vitti and the École des Beaux-Arts before moving to London. Ginner became a member of the Fitzroy Street Group, the Camden Town Group, the London Group, and the Cumberland Market Group. His friendships with artists like Harold Gilman influenced his artistic development. In 1911, Ginner took Gilman to Paris, where they viewed the Bernheim Collection. Ginner's work displays Post-Impressionist influences, particularly from Van Gogh and Monet. His 1912 painting, *Victoria Embankment Gardens*, shows Van Gogh's impact, while its Houses of Parliament allude to Monet. Ginner sought to paint distinctly English subjects, including London scenes like Piccadilly Circus and Leicester Square. Ginner formulated a Neo-Realist credo, published in *The New Age* in 1914, with Gilman. Neo-Realism aimed to move away from imitative painting towards a closer study of nature and technique. His painting *The Wild Ducks* (1911/12) demonstrates his detailed technique, using small touches of thick paint in pure colour. Gilman owned *The Wild Ducks*, and it appears in Gilman's *Girl with a Teacup*. Ginner became an ARA in 1945 and died in 1952.

Charles Ginner employed a range of techniques and materials in his art. Technical knowledge informs art history, and it is essential to understand the processes used by artists. Artists make important choices that stand outside the constraints of the materials. Understanding the interface between the qualities of medium and technique and the aesthetic decisions made by the artist is important. Some of the printmaking techniques available to artists include woodcut, metal engraving, and etching. In woodcut, the image is transferred from the raised areas of a wood block onto paper; areas of the block are cut away with a knife, chisel, or gouge. Metal engraving involves gouging lines of the design out of a metal plate with a burin. Etching is an intaglio process where a metal plate is coated with acid-resistant wax, the image scratched into the wax, and the plate placed in an acid bath.

Charles Ginner's influence can be seen most directly in his close friendships and collaborations with fellow artists. He met Harold Gilman and Spencer Gore in 1910 after moving to London. Ginner joined the Fitzroy Street Group, the Camden Town Group, the London Group, and the Cumberland Market Group, indicating his active participation in artistic circles. Ginner and Gilman became particularly close. In 1911, Ginner took Gilman to Paris, where they viewed the Bernheim Collection. Ginner's enthusiasm for Van Gogh is evident in his painting Victoria Embankment Gardens (1912), which has stylistic connections to Van Gogh's Arles garden paintings. Gilman owned Ginner's The Wild Ducks (1911/12), and included it in the background of his Girl with a Teacup. Ginner and Gilman exhibited together as Neo-Realists in 1914, publishing a manifesto in The New Age that same year. Their Neo-Realism sought to move away from imitative painting formulas based on artists such as Van Gogh, Gauguin and Cézanne, instead stressing the study of nature and technique.

Born in Cannes, France, Charles Ginner (1878-1952) studied at the Académie Vitti, then at the École des Beaux-Arts, and again at Vitti under Anglade y Camarasa from 1904 to 1908. His early still-life paintings used thick impasto in brilliant colours, an approach that impressed the Allied Artists' Association when Ginner exhibited there in 1908. Frank Rutter recalled that Gore remarked, 'This man is a painter'. Ginner moved to London in 1910, joined the Fitzroy Street Group, and became a founder member of the Camden Town Group. He met Harold Gilman, and the two artists became close friends; Ginner took Gilman to Paris in 1911. After seeing the Bernheim Collection, Ginner wrote of 'a room entirely decorated with works of Van Gogh, a sight unsurpassed in beauty and intensity'. His 1912 Victoria Embankment Gardens makes an explicit gesture to Van Gogh’s Arles Garden paintings; the palette and Houses of Parliament also suggest a connection with Monet. By 1912, Ginner had developed a technique using small touches of thick paint in pure colour, applied rhythmically to accentuate every detail. Rutter compared Ginner's meticulousness to that of the Pre-Raphaelites.

Charles Ginner, born in Cannes, France, in 1878, is known for his involvement with several British art groups, including the Camden Town Group and the London Group. He studied painting at the Académie Vitti and the École des Beaux-Arts before moving to England in 1908. Ginner exhibited with the Allied Artists' Association (AAA) and later became a founder member of various art groups. His painting *Victoria Embankment Gardens*, completed in 1912, is among his best-known works. It shows the influence of Vincent van Gogh, particularly van Gogh's *Arles Garden* paintings. The work features pastel colours in the sky, reminiscent of Claude Monet, and reflects Ginner's interest in painting distinctly English subjects. Earlier, in 1908, his *Tache decorative-tulipes* drew attention for its use of thick impasto and brilliant colours, influenced by Anglade y Camarasa. Another notable work, *The Wild Ducks* (1911/12), demonstrates Ginner's meticulous technique, using small touches of thick paint in pure colour to define every detail.

Charles Ginner, born in Cannes in 1878, is associated with several early twentieth-century British art movements. He studied painting in Paris, and in 1908, he moved to London. There, he joined the Fitzroy Street Group and became a founder member of the Camden Town Group. Later, he also helped found the London Group and the Cumberland Market Group. Ginner's early work shows the influence of his teachers, particularly Anglade y Camarasa. His painting Tache decorative - tulipes (1908) demonstrates his use of thick impasto and brilliant colours, a handling that impressed others when he exhibited with the Allied Artists' Association in 1908. In 1911, Ginner visited Paris with Harold Gilman and saw the Bernheim Collection. He was particularly struck by the work of Van Gogh. His 1912 painting Victoria Embankment Gardens shows the influence of Van Gogh's Arles garden paintings. However, Ginner sought to paint distinctly English subjects, including London scenes. In January 1914, Ginner published a manifesto for Neo-Realism in The New Age. He aimed to move away from what he saw as imitative painting based on Van Gogh, Gauguin and Cézanne. He wished to focus on the study of nature and technique.