[1] In Oxford he met and became a close friend of the caricaturist and parodist Max Beerbohm, who later immortalised him in the short story Enoch Soames (1919).

Under Clifton the gallery was the home for all three exhibitions of the Camden Town Group, led by Rothenstein's friend and close contemporary Walter Sickert.

[8][10] This painting continues to be one of his best-known and most critically acclaimed works, and was the subject of a recent in-depth study published by the Tate Gallery.

Good examples include Parting at Morning (1891), Mother and Child (1903) and Jews Mourning at a Synagogue (1907) – all of which are owned by the Tate Gallery.

[8][12][13][14] Between 1902 and 1912 Rothenstein lived in Hampstead, London, where his social circle included H. G. Wells, Joseph Conrad and the artist Augustus John.

[8] Another feature of this period are the celebrated interiors he painted, the most famous of which is The Browning Readers (1900), now owned by Cartwright Hall gallery, Bradford.

Reminiscent of Dutch painting (particularly Vermeer and Rembrandt), they are similar in style to contemporary works by William Orpen, who became Rothenstein's brother-in-law in 1901, marrying Alice's sister Grace.

[16][17] Rothenstein maintained a lifelong fascination for Indian sculpture and painting, and in 1910 set out on a seminal tour of the subcontinent's major artistic and religious sites.

The trip ended with a stay in Calcutta, where he witnessed the attempts of Abanindranath Tagore to revive the techniques and aesthetics of traditional Indian painting.

[8] Rothenstein was principal of the Royal College of Art from 1920 to 1935,[6] where he encouraged figures including Edward Burra, Evelyn Dunbar, U Ba Nyan and Henry Moore.

[20] Rothenstein was a master of lobbying and advocacy for his students, notably when, thanks to his efforts, Edward Bawden and Eric Ravilious were commissioned to paint a mural in the dining room of Morley College.