The Family
POA
Laurence Stephen Lowry, R.A. (1887-1976)
The Family, c.1972
Offset lithograph on wove paper, after the original oil painting from 1962 of the same title (Collection: Private Collection)
Signed ‘L.S. Lowry’ low... Read More
Product Variations
The Family
POA
Laurence Stephen Lowry, R.A. (1887-1976)
The Family, c.1972
Offset lithograph on wove paper, after the original oil painting from 1962 of the same title (Collection: Private Collection)
Signed ‘L.S. Lowry’ lower right in pencil
Stamped by the Fine Art Trade Guild and numbered from the edition of 850
Published by the Adam Collection Ltd.
Size: 10½ x 8½ in. (26.5 x 21.5 cm)
(Please enquire for availability)
Lowry is synonymous with images of the working class of the Industrial North, but he was not of those streets by birth. Instead, his family were of the ‘respectable’ Victorian lower-middle class for whom the threat of declining gentility was a real fear at the beginning of the century. Yet as the family’s fortunes altered, forcing them to move in 1909 to the then down-at-heel Manchester district of Pendlebury, the young Lowry found himself immersed in the lives of real working-class families. Shortly after the move to Pendlebury Lowry joined the Pall Mall Property company as a rent collector and clerk in (he would work there until his retirement, a fact which did not become widely known until after his death) and whilst walking his rounds he gained an intimate knowledge of the people and families he encountered and remained fascinated by their plight all his life.
In the present work, we see a smartly dressed family group – a father, mother and two children – going about their daily business. Although many of Lowry’s artworks depict groups of figures together, the sense of togetherness is not what it appears. Lowry once remarked of the people he observed: “All those people in my pictures, they are all alone. They have got all their private sorrows, their own absorption. But they can't contact one another. We are all of us alone - cut off. All my people are lonely. Crowds are the most lonely thing of all. Everyone is a stranger to everyone else. You have only got to look at them to see that.” This notion creates another dynamic to Lowry’s works and makes the viewer question what they originally perceived of these figures.
Lowry's interest in the figure is evident throughout his career but it was not until the late 1940s and 50s that he began to abandon his signature crowd scenes in favour of small groups of people and families, rendered with a more highly developed sense of individual identity. Indeed, during this time Lowry's figures become of such central importance that he begins to place them not against an urban backdrop, but simply against a white void so that the subject of the painting becomes the figures alone, or, crucially, the nebulous atmosphere inhabiting the spaces between them.
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Laurence Stephen Lowry, R.A. (1887-1976)
The Family, c.1972
Offset lithograph on wove paper, after the original oil painting from 1962 of the same title (Collection: Private Collection)
Signed ‘L.S. Lowry’ lower right in pencil
Stamped by the Fine Art Trade Guild and numbered from the edition of 850
Published by the Adam Collection Ltd.
Size: 10½ x 8½ in. (26.5 x 21.5 cm)
(Please enquire for availability)
Lowry is synonymous with images of the working class of the Industrial North, but he was not of those streets by birth. Instead, his family were of the ‘respectable’ Victorian lower-middle class for whom the threat of declining gentility was a real fear at the beginning of the century. Yet as the family’s fortunes altered, forcing them to move in 1909 to the then down-at-heel Manchester district of Pendlebury, the young Lowry found himself immersed in the lives of real working-class families. Shortly after the move to Pendlebury Lowry joined the Pall Mall Property company as a rent collector and clerk in (he would work there until his retirement, a fact which did not become widely known until after his death) and whilst walking his rounds he gained an intimate knowledge of the people and families he encountered and remained fascinated by their plight all his life.
In the present work, we see a smartly dressed family group – a father, mother and two children – going about their daily business. Although many of Lowry’s artworks depict groups of figures together, the sense of togetherness is not what it appears. Lowry once remarked of the people he observed: “All those people in my pictures, they are all alone. They have got all their private sorrows, their own absorption. But they can't contact one another. We are all of us alone - cut off. All my people are lonely. Crowds are the most lonely thing of all. Everyone is a stranger to everyone else. You have only got to look at them to see that.” This notion creates another dynamic to Lowry’s works and makes the viewer question what they originally perceived of these figures.
Lowry's interest in the figure is evident throughout his career but it was not until the late 1940s and 50s that he began to abandon his signature crowd scenes in favour of small groups of people and families, rendered with a more highly developed sense of individual identity. Indeed, during this time Lowry's figures become of such central importance that he begins to place them not against an urban backdrop, but simply against a white void so that the subject of the painting becomes the figures alone, or, crucially, the nebulous atmosphere inhabiting the spaces between them.
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Pay Monthly
You can secure a piece of art from £425 with a payback term of between 5 to 20 months interest free.*
0% Interest Free Credit
Spread the cost over up to 20 months with absolutely no interest to pay across all artworks.
Pay in 3 installments with Klarna.
Pay a low deposit, then between 3 to 12 months interest free.*