Rachel acknowledges the classical precedent. She says: "I embrace the tradition of the classical composition, and the presenting of an archetypal view. This helps in the re-telling of the story I am working from."

And there's certainly a strong narrative focus to her scenes, with a hint of intrigue and conspiracy in those female gatherings. Rachel Deacon admits that these feminine trysts have always intrigued her. "When I was a very young girl, I was fascinated by older girls and women. I loved books. When I had read them, I would fill the blank pages at the beginning and the end with drawings of 'ladies'. There was never enough paper."

Today, as a full time painter, Deacon continues to use the written word – usually poetry - as inspiration, and then creates a scene through sketches, almost like a film still. She uses traditional oil painting techniques, and says she is committed to the 'unchanging craft' of painting.

Deepening the mystery that Deacon creates using narrative is a certain ambiguity in the period. For all the renaissance composition, there's a 21st century sensibility in the 'independent girls together' spirit apparent in works such as Powder Room Ritual. All women will identify with moments such as this.

And yet these women are dressed in clothes that are drawn from a curiously non-specific mix of styles that stretch from 20s to post-war. Deacon says: "I try to keep the era in the painting ambiguous, however I love the style of the 1940's, the textiles design, cut of the clothing and even hairstyles reflect softness and strength in equal measure.  I feel delighted by detail in everyday life and try to reflect this in my work."