roisingrace: Exhibition review: Lowry and the Painting of Modern Life

‘Lowry and the Painting of Modern Life’

Tate Britain

26 June – 20 October 2013

By Roisin Astell

An artist of paradox, L.S. Lowry’s name alone generates mixed opinions; and the current show at the Tate Britain, ‘Lowry and the Painting of Modern Life’ has brought this right back to the forefront. As the first major retrospective exhibition since Lowry’s death in 1976, over 90 works are displayed across six thematic rooms, offering a thought-provoking glimpse into the world of Lowry.

Exhibiting industrial scenes and urban landscapes, Lowry’s visions offer a bleak and unwelcoming portrayal of Northern England. His paintings present an honest portrayal of the every-changing urban landscape of the time, and although somewhat dreary and repetitive, his work has become the staple piece of the north; a representative of the world largely ignored by the south. The choice of the displayed work, which portray scenes of chaotic crowds of working-class people, the monotonous nature of human life, and the uniform and repetitive nature of terraced houses serves to intensify the negative image of the north, and thus heighten the north and south divide. The emotional detachment and voyeuristic nature of Lowry’s pieces are resonating of a modern viewer looking at his work on display. Yet, one cannot ignore the fact that Lowry’s artwork acts as powerful reminders of a time not so long ago.

'Industrial Landscape', Lowry, Oil on Canvas, 1955

Curating this blockbuster exhibition were two highly established academic art historians, T.J Clark and Anne Wagner; whose aim is to bring Lowry back to the limelight of the art-world. However, what is curious is that neither curator has specific connections with the work of Lowry. Wagner is a celebrated historian of nineteenth and twentieth-century French and British sculpture, and T.J. Clark is renowned for his work that focuses on a new social history of art, especially concentrating on French Impressionism.

Their academic practice has clearly manifested within the exhibition. For instance, the title of the show is taken from Clark’s seminal book ‘The Painting of Modern Life: Paris in the Art of Manet and his Followers’ (1985). Straight from the beginning the curators attempt to situate Lowry within the wider parameters of French Impressionism, a notion evident within the exhibition. This choice of title alone has its downfalls, as pre-eminent to attending it sets up preconceived notions of how one should perhaps view the work of Lowry - taking him out from his northern roots and positioning him directly within a different context. In Room 2: ‘The Idea of Modern Life’, the viewer is confronted with works of Lowry displayed in conjunction with works by Van Gogh, Seurat and Pissaro. The intention being to illuminate the similarities between Lowry and his contemporaries, that being the ways in which modernity affected society and how artists visually represented it.

Inclusion of Van Gogh’s ‘Outskirts of Paris’ (1886) portrays the depressing effects of Haussmannisation, and how the growth of modernity affected the countryside. A notion comparable in Lowry’s urban scenes, such as ‘Blitzed Site’ (1942) and ‘Industrial Landscape’ (1955). However, these connections seem contrived and forced. Lowry clearly was not an Impressionist, and this serves to show how technically different he was compared to his French contemporaries. In an attempt to place Lowry on the same pedestal as the impressionists; the curators inadvertently remove him from his northern and stereotyped ‘naïve status’, further supporting the paradox that Lowry causes with the public.

'Outskirts of Paris', Vincent Van Gogh, Oil on Cardboard, 1886

The overall structure of the exhibition mirrors Lowry’s work – one of repetitiveness. Sectioned off into different rooms pertaining to themes, ‘Lowry and the Painting of Modern Life’ creates a somewhat confusing exhibition, separating and forcing particular pieces into fixed descriptions and creating an incohesive experience for viewers.

What does strengthen the exhibition is the inclusion of archival material. Materials such as photographs, newspaper clippings, personal letters and archive films, situates the viewer right into Lowry’s world.

The inclusion of large-scale panoramas in the final room allows viewers to see the impressive scenes that dominated Lowry’s life. Moving away from the urban cities, Lowry painted sweeping vistas of Welsh mining towns, empty of the mass of crowds that are so inherent in his work. ‘Hillside in Wales’ (1962), offers a calmer and more subdued landscape. Although away from the heart of industry, Lowry maintains it’s looming presence through the inclusion of dark red clouds in the sky.

It’s not all doom-and-gloom however. Within the exhibition are positive representations of life during the 1950s. ‘Going to the Match’ (1953) portrays the action and energy found in the pleasures of the working-class life. Although industry is also presented, our focus is on the crowds of people moving toward the stadium.

The artwork displayed makes Lowry seem like a one-trick-pony. An opportunity to create a broader picture of Lowry was missed through the lack of works such as his seascapes and portraiture. Such inclusions would have aided the attempt to provide Lowry with the recognition so many argue for and to dispel the stereotype of his work confining to matchstick men representations.

Despite the impressive number of works displayed, one cannot ignore the underlying elephant in the room – why has it taken this long for London to produce a retrospective of one of Britain’s most loved artists? The Tate has received much criticism over its neglect of Lowry, and therefore ‘Lowry and the Painting of Modern Life’ carries a great deal of baggage.

Although ‘Lowry and the Painting of Modern Life’ has its downfalls, one cannot deny the positive outreach this exhibition has produced. Transcending to people across the UK who have travelled especially to attend, Lowry’s work is comforting and familiar to many. Despite what people think about his work, Lowry was undeniably a national figure, who through this blockbuster exhibition has been brought back to our attention. As assistant curator Helen Little says, this show is only part of the story of Lowry, and hopefully there will be more to come in the future.