William Brooker enjoyed painting familiar objects from an unusual perspective and A Day at Lords is a good example of this. He presents his audience with a seemingly transient image of an everyday scene or object, and in so doing, arrives at an unconventional view of the conventional.
His early work was located within the broad framework of English anecdotal impressionism, continuing a tradition established by Vuillard and Bonnard, and translated to the English idiom by Sickert.
And yet, as we can see in A Day at Lords, painted in 1954, Brooker asserted his individuality by painting not the familiar green turf and white-clad players, but a rear view of steps leading to the spectator area. It is viewed as though we are ourselves approaching the area; thus Brooker's interpretation of the scene has transformed a public area into a private world.
Brooker's limited palette has preserved the ambience of a light summer's day. These cool greys and whites, enlivened with blue, became his favoured colours, and as his work developed they were used constantly.
We can see in A Day at Lords evidence of Brooker's growing concern with geometric structure and simplification of elements. His interest in the juxtaposition of shape and form, and composition of tonal harmony, appear to surpass his interest in the subject matter. This work, in fact, can be seen as a precursor of the abstracted, minimalist, still-life painting which he later developed, and which was to occupy him for many years.
William Brooker began his art education in 1936. His training was interrupted by army service during World War II, and his art studies were resumed in 1947. Following completion of his training in 1949 he became a lecturer in painting at several English art schools and exhibited his own work widely.