The Pavilion
POA
Laurence Stephen Lowry, R.A. (1887-1976)
The Pavilion, 1969-1972
Lithograph in black with tinted ground on wove paper
Signed ‘L.S. Lowry’ lower right and numbered from the edition of 75 lower left in pencil
Product Variations
The Pavilion
Laurence Stephen Lowry, R.A. (1887-1976)
The Pavilion, 1969-1972
Lithograph in black with tinted ground on wove paper
Signed ‘L.S. Lowry’ lower right and numbered from the edition of 75 lower left in pencil
Printed from the stone by J.E. Wolfensberger AG, Zurich
Printed by Ganymed Editions, London
Size: 26 x 21 in. (65.5cm x 53cm)
(Please enquire for availability)
Although primarily a painter of working-class people and industrial urban scenes, art historians have noted that after the Second World War Lowry started to include scenes of leisure into his oeuvre. The figures in the present work are rendered with a fluidity inherent to the movement of play and fun. It is interesting to note that, because of their formal attire, one would not be able to tell that the figures were at a beach if it wasn’t for the scenery behind them. Shelley Rohde writes, “Lowry’s Victorian heritage is no-where better illustrated than in his beach and seaside pictures. No one is ever undressed.”
The Pavillion is a characteristically lively example of Lowry’s depictions of the seaside, which varied from the strikingly bleak works, such as The Sea, 1963, to those populated by his matchstick men and filled with humorous caricatures. The present work strikes a balance between the two: the entertaining and playful details of the characters at their leisure contrast strongly with the dark monochromaticism of the medium, and the typically symmetrical composition, dominated by the pavilion in the center, creates a pervasive sense of melancholic austerity.
As a child, Lowry often went on family holidays to the seaside and had a fascination with large bodies of water. The artist once said; “I’ve always been fond of the sea… How wonderful it is, yet also how terrible. I often think... what if it suddenly changed its mind and didn’t turn the tide — and came straight on? If it didn’t stop and came on and on and on and on... That would be the end of it all.” This love and fear of the ocean adds another layer of intrigue to Lowry’s more overtly playful depictions of the sea.
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Laurence Stephen Lowry, R.A. (1887-1976)
The Pavilion, 1969-1972
Lithograph in black with tinted ground on wove paper
Signed ‘L.S. Lowry’ lower right and numbered from the edition of 75 lower left in pencil
Printed from the stone by J.E. Wolfensberger AG, Zurich
Printed by Ganymed Editions, London
Size: 26 x 21 in. (65.5cm x 53cm)
(Please enquire for availability)
Although primarily a painter of working-class people and industrial urban scenes, art historians have noted that after the Second World War Lowry started to include scenes of leisure into his oeuvre. The figures in the present work are rendered with a fluidity inherent to the movement of play and fun. It is interesting to note that, because of their formal attire, one would not be able to tell that the figures were at a beach if it wasn’t for the scenery behind them. Shelley Rohde writes, “Lowry’s Victorian heritage is no-where better illustrated than in his beach and seaside pictures. No one is ever undressed.”
The Pavillion is a characteristically lively example of Lowry’s depictions of the seaside, which varied from the strikingly bleak works, such as The Sea, 1963, to those populated by his matchstick men and filled with humorous caricatures. The present work strikes a balance between the two: the entertaining and playful details of the characters at their leisure contrast strongly with the dark monochromaticism of the medium, and the typically symmetrical composition, dominated by the pavilion in the center, creates a pervasive sense of melancholic austerity.
As a child, Lowry often went on family holidays to the seaside and had a fascination with large bodies of water. The artist once said; “I’ve always been fond of the sea… How wonderful it is, yet also how terrible. I often think... what if it suddenly changed its mind and didn’t turn the tide — and came straight on? If it didn’t stop and came on and on and on and on... That would be the end of it all.” This love and fear of the ocean adds another layer of intrigue to Lowry’s more overtly playful depictions of the sea.
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Pay a low deposit, then between 3 to 12 months interest free.*
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.*