John Bratby emerged on the British art scene in the 1950s alongside Jack Smith, Edward Middleditch and Derrick Greaves
to critical attention. Their bold, expressionist rendering of everyday life became a focal point of debate between leading art critics of the day, John Berger (in favour) and David Sylvester (against). It was Sylvester's review in Encounter in 1954 that coined the term the 'Kitchen Sink' school, grouping the artists together, although they were never such a distinct school. In a sense, as Martin Gayford writes, they were heirs to Sickert and the Camden Town group in their occupation with the reality of their surroundings (Modernists & Mavericks, 2019, p. 152). 

All four were shown by Helen Lessore of Beaux Arts in the 1950s and represented Britain at the Venice Biennale in 1956 (that same year his Still-life with Chip Frier was acquired by the Tate). In 1957, Smith was the first winner of the John Moores Painting Prize, while Bratby won the junior award. The subject of sunflowers recurred throughout Smith's career, and reveal the impact of Van Gogh, which Bratby uncounted first hand at the Tate's Van Gogh exhibition of 1947-8.